American Cinematographer - July 2017 - 65

great tool that Lyle, [gaffer] Michael
Roy and I looked at a lot during prep."
To differentiate the disparate
worlds of the cannibal tribe and the
more civilized community of Comfort,
Vincent developed distinct color palettes
for each. "The cannibals were very
primal. For them, we used saturated reds
and oranges, with oil-drum fires everywhere," explains Vincent. "Then for
Comfort, we used more of a neon wash
of blues and greens."
Comfort's colors come alive
during a rave-like celebration where the
town's leader - a cultish figure known as
The Dream (Keanu Reeves) -
addresses the revelers while perched atop
a giant boombox. The bus-sized prop,
which arrived premade and maintains
mobility via its own four wheels, is a
piece called "The Rockbox" by Los
Angeles artist Derek Wunder, which
some moviegoers may recognize from its
appearances at Nevada's annual Burning
Man gathering.
To key Reeves, 8' Kino Flo
3,200K tubes were hidden on the boombox's top deck and angled as up-lights.
For the masses below, an Arri M40
gelled with Lee 354 Special Steel Blue
served as an edge light. When coverage
moved into tighter shots, a Digital
Sputnik rig augmented the M40.
The now-popular Digital Sputnik
brand was relatively unknown when The
Bad Batch was shot in early 2015, and the
units ended up on the film almost by pure
chance, according to Roy. "I was on the
Cinelease prep floor with my best boy,
Harold Lacuesta, and we found an open
Pelican case with a unique three-headed
LED system inside," recalls Roy. "The
individual heads were tethered to a
shared power supply and it used a proprietary iPad application that required
close-range wireless connectivity. Lyle
was smitten and we left the shop floor
with the only kit in inventory. Ultimately,
it proved to be a versatile tool that
worked beautifully for the rave scenes."
Located within Comfort is The
Dream's compound, an oasis from the
harsh desert sun where Reeves' character
lives surrounded by his harem of expec-


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Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
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American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
American Cinematographer - July 2017 - 61
American Cinematographer - July 2017 - 62
American Cinematographer - July 2017 - 63
American Cinematographer - July 2017 - 64
American Cinematographer - July 2017 - 65
American Cinematographer - July 2017 - 66
American Cinematographer - July 2017 - 67
American Cinematographer - July 2017 - 68
American Cinematographer - July 2017 - 69
American Cinematographer - July 2017 - 70
American Cinematographer - July 2017 - 71
American Cinematographer - July 2017 - 72
American Cinematographer - July 2017 - 73
American Cinematographer - July 2017 - 74
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American Cinematographer - July 2017 - 76
American Cinematographer - July 2017 - 77
American Cinematographer - July 2017 - 78
American Cinematographer - July 2017 - 79
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American Cinematographer - July 2017 - 81
American Cinematographer - July 2017 - 82
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American Cinematographer - July 2017 - 84
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American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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