American Cinematographer - July 2018 - 25

ably consistent, and that helped us maintain
that wide-open look."
When shooting with the largeformat primes close-up and wide open at
T1.8, however, Schneider reports that sometimes "nothing was in focus." For close-up
work, and especially inserts, closing down
to a T4 or T5.6 thus became a requirement.
Veteran focus puller Valentine Marvel,
pulling on an Arri WCU-4 while referencing
a 13" Small HD 1303 monitor, needed
marks for tight work. "We really had to be
aware of the challenges with depth of
field," the cinematographer says.
Subtle camera movement was
another component of Schneider's compositional arc. As Papa grieves, the camera
recedes from him - but as the robot boy
enters his life, the moves start to push us
closer, and into profiles and OTS shots that
help bind the two characters. To acquire
those subtle pushes and pulls, Schneider
used a prototype slider from Cinema Hardware rigged to a Chapman Super PeeWee III
Plus dolly. Though the dolly moves were in
keeping with the deliberate, on-rails feel
that Schneider and Petrie sought, the rig
was primarily selected with speed in mind,
as they never laid down track nor operated
handheld.
With two days to shoot 30 scenes,
haste was of utmost necessity. To appropriately accommodate Schneider's color and
contrast arcs, each scene required a full
relight - even if a scene took place in the
same space. "I had a killer crew that made
it possible," Schneider attests. "I was very
lucky that gaffer Ryan French and key grip
Rudy Covarrubias, who had also done
Drunk History with me, were available."
Schneider's color arc entailed alternating
between cool-blue and warm-orange
sunlight in accordance with Papa's
emotional state. It starts blue, in his isolation, and gradually introduces tungsten
tones. "When the idea of the robot boy first
enters his life, I wanted the first hint of that
morning orange to just graze the walls,"
the cinematographer explains. "[The robot
is] not even interacting with him yet, but it
starts to be present in his environment." As
Papa continues to let the robot boy into his
life, that warm light hits him more directly
and begins to dominate the ambience.
To achieve his color and contrast

Cinematographer
Logan Schneider
lines up an Arri
Alexa LF camera
- rigged atop
two high
risers on a
Chapman/Leonard
Super PeeWee III
Plus dolly - for a
high-angle shot
over Brown's
shoulder.

arcs, Schneider had access to an ample
lighting package. "I had every tool I could
want on this one," he enthuses. For the
colder light pushing through the windows,
Schneider and French used an Arrimax 18K,
M90s and M40s bounced into mirrors for
natural-looking sunlight. Arri SkyPanel
S360-Cs and S60-Cs were employed for the
living room and garage scenes. Moonlight
ambience in the bedroom was a combinawww.ascmag.com

tion of SkyPanels - dialed to 5,600K -
and "the always-dependable ETC Source
Four [ellipsoidal spots] through 1⁄2 CTB and
Steel Green gel," Schneider notes.
To render the warmer tones, the
production used uncorrected tungsten
lamps, Arri Studio T12s and Mole-Richardson 5K PARs bounced into mirrors. When
Schneider wanted the warmth to play
starker against the blues, he would apply
July 2018

25


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Table of Contents for the Digital Edition of American Cinematographer - July 2018

Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
American Cinematographer - July 2018 - 2
American Cinematographer - July 2018 - Contents
American Cinematographer - July 2018 - 4
American Cinematographer - July 2018 - 5
American Cinematographer - July 2018 - 6
American Cinematographer - July 2018 - 7
American Cinematographer - July 2018 - 8
American Cinematographer - July 2018 - 9
American Cinematographer - July 2018 - 10
American Cinematographer - July 2018 - 11
American Cinematographer - July 2018 - 12
American Cinematographer - July 2018 - 13
American Cinematographer - July 2018 - 14
American Cinematographer - July 2018 - 15
American Cinematographer - July 2018 - 16
American Cinematographer - July 2018 - 17
American Cinematographer - July 2018 - 18
American Cinematographer - July 2018 - 19
American Cinematographer - July 2018 - 20
American Cinematographer - July 2018 - 21
American Cinematographer - July 2018 - 22
American Cinematographer - July 2018 - 23
American Cinematographer - July 2018 - 24
American Cinematographer - July 2018 - 25
American Cinematographer - July 2018 - 26
American Cinematographer - July 2018 - 27
American Cinematographer - July 2018 - 28
American Cinematographer - July 2018 - 29
American Cinematographer - July 2018 - 30
American Cinematographer - July 2018 - 31
American Cinematographer - July 2018 - 32
American Cinematographer - July 2018 - 33
American Cinematographer - July 2018 - 34
American Cinematographer - July 2018 - 35
American Cinematographer - July 2018 - 36
American Cinematographer - July 2018 - 37
American Cinematographer - July 2018 - 38
American Cinematographer - July 2018 - 39
American Cinematographer - July 2018 - 40
American Cinematographer - July 2018 - 41
American Cinematographer - July 2018 - 42
American Cinematographer - July 2018 - 43
American Cinematographer - July 2018 - 44
American Cinematographer - July 2018 - 45
American Cinematographer - July 2018 - 46
American Cinematographer - July 2018 - 47
American Cinematographer - July 2018 - 48
American Cinematographer - July 2018 - 49
American Cinematographer - July 2018 - 50
American Cinematographer - July 2018 - 51
American Cinematographer - July 2018 - 52
American Cinematographer - July 2018 - 53
American Cinematographer - July 2018 - 54
American Cinematographer - July 2018 - 55
American Cinematographer - July 2018 - 56
American Cinematographer - July 2018 - 57
American Cinematographer - July 2018 - 58
American Cinematographer - July 2018 - 59
American Cinematographer - July 2018 - 60
American Cinematographer - July 2018 - 61
American Cinematographer - July 2018 - 62
American Cinematographer - July 2018 - 63
American Cinematographer - July 2018 - 64
American Cinematographer - July 2018 - 65
American Cinematographer - July 2018 - 66
American Cinematographer - July 2018 - 67
American Cinematographer - July 2018 - 68
American Cinematographer - July 2018 - 69
American Cinematographer - July 2018 - 70
American Cinematographer - July 2018 - 71
American Cinematographer - July 2018 - 72
American Cinematographer - July 2018 - 73
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American Cinematographer - July 2018 - 76
American Cinematographer - July 2018 - 77
American Cinematographer - July 2018 - 78
American Cinematographer - July 2018 - 79
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American Cinematographer - July 2018 - 81
American Cinematographer - July 2018 - 82
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American Cinematographer - July 2018 - 84
American Cinematographer - July 2018 - 85
American Cinematographer - July 2018 - 86
American Cinematographer - July 2018 - 87
American Cinematographer - July 2018 - 88
American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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