American Cinematographer - August 2013 - 58
◗
Rapturous Action
Top: Wolverine
sits uneasily
inside a bullet
train. Bottom left:
The crew films
Jackman in the
train set. Bottom
right: The bullettrain set was built
onstage in
Sydney’s Fox
Studios.
lenses return some of the texture and
analog feel to the digital image, smoothing out the ‘edges’ of the digital sensor
and making the image feel less manufactured.”
A-camera operator Marc Spicer,
ACS adds, “The 60mm provided a great
close-up with a wide field-of-view,
losing none of our great sets or locations. At T2.8-T4, the actor was sharp
and the backgrounds only lightly softened.”
In keeping with Mangold’s preference for using wide lenses close to the
action, Emery employed a fairly narrow
band of focal lengths, mainly 35mm to
75mm, “to create a strong visual consis58
August 2013
tency. Jim is a performance-based director, but when it comes to composition,
camera moves and lens choices, he is
very specific. He wanted each character
to have a distinct presence within his or
her surroundings, so we rarely used
anything over 75mm.”
“I like to feel that I’m inviting the
audience inside the arena,” explains
Mangold. “I give the camera assistants
fits because the actors always tend to be
on minimum focus, and I make it very
hard to shoot multiple cameras because
the camera is so profoundly close to the
action, but that’s what gives the viewer a
sense of intimacy.
“Ross and I paid a lot of attention
American Cinematographer
to camera choreography,” he continues.
“With live-action stunts, the results are
never identical from take-to-take, which
means the framing isn’t always perfect. I
wanted to retain this non-anticipatory
aesthetic when an actor is interacting
with something that will be created as a
visual effect, such as Wolverine’s fight
with the Silver Samurai near the end of
the film. I’m after that wonderful
organic sloppiness that helps communicate reality.”
Once in Tokyo, Wolverine takes a
trip on a technological icon of Japan, the
bullet train, and quickly finds himself in
a no-claws-barred fight with Yakuza
assassins. The fight starts inside one of
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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