American Cinematographer - July 2018 - 45

very few primary colors," says Gawler.
"The DNA lenses produced such a
specific quality, with lots of falloff, funky
vignetting and flares. We're celebrating
that, as opposed to trying to clean it up.
Bradford shoots in very low light levels
where the image lives in the toe; instead
of using power windows, we open up
that low end of the exposure and get
this glorious, artistic image."
"I love soft backlight with very
little or no fill at all, so faces fall off into
shadow unless they turn towards the
source," Young elaborates. "I was trying
to encourage myself to continue to do
some of the things I've done for years on
small, low-budget independent films,
where we accept darkness as a point of
expression versus a deficit."
Reflecting on his experience in
the galaxy far, far away as he oversees
the final phase of post, Howard offers,
"I stepped into an aesthetic process
after it had already begun. Once I
picked up on it, I would certainly make

suggestions and work within it
creatively, which I found to be an exciting process. Bradford's cinematography is even more expressive and
psychologically correct than I assumed
it would be. I see texture, richness and
a degree of detail that's both exciting
and cinematic to look at, but also
connects this story to the characters
and the environment around them [in
a way] that feels organic.
"The movie is a rite-of-passage
story about Han Solo," Howard
concludes. "It's fun and adventuresome,
but there are also psychological and
emotional components. Bradford's
work, and what we've been able to do
together, really helps connect all that in
a way that's interesting to watch and
feels fresh."
‚óŹ

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa 65, Alexa Mini;
Vision Research Phantom v2512
Arri Prime DNA,
Arri/Zeiss Super Speed,
Camtec Falcon Full Frame

45


http://k5600.com

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
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American Cinematographer - July 2018 - 38
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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
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American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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