American Cinematographer - August 2013 - 57
Unit photography by Mark Pokorny, James Fisher and Ben Rothstein, courtesy of 20th Century Fox.
Opposite:
Wolverine (Hugh
Jackman) travels to
Japan to see an old
acquaintance in
The Wolverine.
This page, top:
Wolverine leads
Mariko Yashida
(Tao Okamoto)
through a
Japanese casino as
they flee from
assassins. Bottom:
Cinematographer
Ross Emery, ACS
views a setup.
as a goal, they also watched Chungking
Express and Black Narcissus. “Color
needs to mean something, and both of
those films are great references for the
use of color in storytelling,” notes
Emery. “The first X-Men, shot by
Newton Thomas Sigel, ASC, is also a
favorite of mine — it’s a great-looking
Marvel film [AC July ’00]. The
combined aesthetics of the Marvelverse, 1970s Westerns and action
movies, and Japanese cinema of the
1950s gives The Wolverine its own feel.”
Elaborating on the use of color as
a storytelling device, Emery continues,
“Color drives the underlying emotions
of the film. Part of Wolverine’s rage
comes from the fact that he is a product
of technology. For scenes showing him
enveloped by the almost miasmic technology of Tokyo, we used overlapping
combinations of Rosco 101 Yellow,
Liberty Green, Easy White, Full Plus
Green and Full Minus Green gels to
create an unnatural-looking spectrum.
When he is able to distance himself
from the technological world, such as in
the Yukon, where the story starts, or in
the Japanese countryside, the color
range is reduced to earthy tones:
browns, faded yellows and washed-out
blues and greens.”
Most of the action takes place
in Japan, prompting production
designer François Audouy to jokingly
describe The Wolverine as “a kind of
architectural thesis. There’s a very traditional Z¯ o-ji Temple in Tokyo, an
oj¯
Osaka Love Hotel inspired by the postwar Metabolism architectural movement, a fishing village and traditional
rural cottage, a reproduction of an Edoperiod mountain village, and, finally, the
Yashida Laboratory, which is built into
the side of a mountain.”
www.theasc.com
The Wolverine was shot in
anamorphic 2.40:1 with Arri Alexa
Studio and Alexa M cameras rated at
ISO 800 and capturing in ArriRaw (to
Codex recorders). The filmmakers
chose Panavision’s C Series prime
lenses, and according to Emery, more
than half of the picture was shot with a
60mm Close Focus Anamorphic.
“There we were, surrounded by the
latest in image-creation technology, and
it was all piped through a piece of glass
made in about 1973,” he notes wryly.
“To my mind, the older anamorphic
August 2013
57
http://www.theasc.com
American Cinematographer - August 2013
Table of Contents for the Digital Edition of American Cinematographer - August 2013
American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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