American Cinematographer - August 2016 - 55

thing was backlit - and if the sun went
away, it wasn't the end of the world. We
tried to add negative fill when we could, or
an eye light for crucial moments, but the
pace was so breakneck that we tended to
embrace the locations we chose. The
movie was shot almost entirely with
natural light."
"I did not appreciate enough, until
we started shooting, just how important
scheduling weather would be," Scheinert
notes with a laugh, "but Larkin did. He
worked with our first AD [ Jesse Fleece]
intensely, scheduling and rescheduling
each day - because he knew that his
main light source was out of his control
- and that paid off a lot."
With inherently variable light from
scene to scene and even shot to shot,
Company 3 colorist Sofie Friis Borup's
assistance in post was another essential
element in maintaining lighting continuity. Borup offers, "When the sun hits a
face and in the next shot the face is in
shadow, we had to bring the shadow up a
bit and the sun spot down, and make it as
consistent as possible."
"Sofie is an amazing colorist,"
Seiple enthuses. "We spent ages coloring
this movie because of all the visual effects
that had to be dropped into it. We colored
three times [at Company 3's New York
facility], and then she flew out to L.A.
twice. It was this hopscotch of a coloring
session that [proceeded periodically] over
the course of a month."
Day exteriors were captured at
1,600 ISO to provide latitude in the highlights. In that way, Seiple explains, "you
have 8 stops above exposure and 5 stops
below, which helped us out a lot. For the
night work, we went back to 800 [ISO], as
I tend to expose night scenes quite dark
but wanted the latitude to print up, which
we did end up doing. I could [expose
normally] but know that I still had information there for the worst-case scenario."
For the bulk of the predominantly
single-camera shoot, Seiple served as
operator on dolly, slider, jib and handheld
work, with Dana Morris traveling in to
operate Steadicam when required. The
production's preferred dolly was the J.L.
Fisher Model 11, as it was small enough to

Top: Hank and Manny share one of many candid moments, in this case aboard their makeshift
commuter bus, which the production's art department built primarily with objects found in the
forest. Middle: Scheinert offers direction to Dano for a scene aboard Hank and Manny's sprucedup discarded golf cart. Bottom: Kwan, Seiple, Scheinert and 1st AC Matt Sanderson (peeking
from behind) have some fun on set.

www.theasc.com

August 2016

55



http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac0524
https://www.nxtbook.com/nxtbooks/ac/ac0424
https://www.nxtbook.com/nxtbooks/ac/ac0324
https://www.nxtbook.com/nxtbooks/ac/ac0224
https://www.nxtbook.com/nxtbooks/ac/ac0124
https://www.nxtbook.com/nxtbooks/ac/ac1223
https://www.nxtbook.com/nxtbooks/ac/ac1123
https://www.nxtbook.com/nxtbooks/ac/ac1023
https://www.nxtbook.com/nxtbooks/ac/ac0923
https://www.nxtbook.com/nxtbooks/ac/ac0823
https://www.nxtbook.com/nxtbooks/ac/ac0723
https://www.nxtbook.com/nxtbooks/ac/ac0623
https://www.nxtbook.com/nxtbooks/ac/ac0523
https://www.nxtbook.com/nxtbooks/ac/ac0423
https://www.nxtbook.com/nxtbooks/ac/ac0323
https://www.nxtbook.com/nxtbooks/ac/ac0223
https://www.nxtbook.com/nxtbooks/ac/ac0123
https://www.nxtbook.com/nxtbooks/ac/ac1222
https://www.nxtbook.com/nxtbooks/ac/ac1122
https://www.nxtbook.com/nxtbooks/ac/ac1022
https://www.nxtbook.com/nxtbooks/ac/ac0922
https://www.nxtbook.com/nxtbooks/ac/ac0822
https://www.nxtbook.com/nxtbooks/ac/ac0722
https://www.nxtbook.com/nxtbooks/ac/ac0622
https://www.nxtbook.com/nxtbooks/ac/ac0522
https://www.nxtbook.com/nxtbooks/ac/ac0422
https://www.nxtbook.com/nxtbooks/ac/ac0322
https://www.nxtbook.com/nxtbooks/ac/ac0222
https://www.nxtbook.com/nxtbooks/ac/ac0122
https://www.nxtbook.com/nxtbooks/ac/ac1221
https://www.nxtbook.com/nxtbooks/ac/ac1121
https://www.nxtbook.com/nxtbooks/ac/ac1021
https://www.nxtbook.com/nxtbooks/ac/ac0921
https://www.nxtbook.com/nxtbooks/ac/ac0821
https://www.nxtbook.com/nxtbooks/ac/ac0721
https://www.nxtbook.com/nxtbooks/ac/ac0621
https://www.nxtbook.com/nxtbooks/ac/ac0521
https://www.nxtbook.com/nxtbooks/ac/ac0421
https://www.nxtbook.com/nxtbooks/ac/ac0321
https://www.nxtbook.com/nxtbooks/ac/ac0221
https://www.nxtbook.com/nxtbooks/ac/ac0121
https://www.nxtbook.com/nxtbooks/ac/ac1220
https://www.nxtbook.com/nxtbooks/ac/ac1020
https://www.nxtbook.com/nxtbooks/ac/ac0920
https://www.nxtbook.com/nxtbooks/ac/ac0820
https://www.nxtbook.com/nxtbooks/ac/ac0720
https://www.nxtbook.com/nxtbooks/ac/ac0620
https://www.nxtbook.com/nxtbooks/ac/ac0520
https://www.nxtbook.com/nxtbooks/ac/ac0420
https://www.nxtbook.com/nxtbooks/ac/ac0320
https://www.nxtbook.com/nxtbooks/ac/ac0220
https://www.nxtbook.com/nxtbooks/ac/ac0120
https://www.nxtbook.com/nxtbooks/ac/ac1219
https://www.nxtbook.com/nxtbooks/ac/ac1119
https://www.nxtbook.com/nxtbooks/ac/ac1019
https://www.nxtbook.com/nxtbooks/ac/ac0919
https://www.nxtbook.com/nxtbooks/ac/ac0819
https://www.nxtbook.com/nxtbooks/ac/ac0719
https://www.nxtbook.com/nxtbooks/ac/ac0619
https://www.nxtbook.com/nxtbooks/ac/ac0519
https://www.nxtbook.com/nxtbooks/ac/ac0419
https://www.nxtbook.com/nxtbooks/ac/ac0319
https://www.nxtbook.com/nxtbooks/ac/ac0219_v2
https://www.nxtbook.com/nxtbooks/ac/ac0219
https://www.nxtbook.com/nxtbooks/ac/ac0119_v2
https://www.nxtbook.com/nxtbooks/ac/ac0119
https://www.nxtbook.com/nxtbooks/ac/ac1218
https://www.nxtbook.com/nxtbooks/ac/ac1118
https://www.nxtbook.com/nxtbooks/ac/ac1018
https://www.nxtbook.com/nxtbooks/ac/ac0918
https://www.nxtbook.com/nxtbooks/ac/ac0818
https://www.nxtbook.com/nxtbooks/ac/ac0718
https://www.nxtbook.com/nxtbooks/ac/ac0618
https://www.nxtbook.com/nxtbooks/ac/ac0518
https://www.nxtbook.com/nxtbooks/ac/ac0418
https://www.nxtbook.com/nxtbooks/ac/ac0318
https://www.nxtbook.com/nxtbooks/ac/ac0218
https://www.nxtbook.com/nxtbooks/ac/ac0118
https://www.nxtbook.com/nxtbooks/ac/ac1217
https://www.nxtbook.com/nxtbooks/ac/ac1117
https://www.nxtbook.com/nxtbooks/ac/ac1017
https://www.nxtbook.com/nxtbooks/ac/ac0917
https://www.nxtbook.com/nxtbooks/ac/ac0817
https://www.nxtbook.com/nxtbooks/ac/ac0717
https://www.nxtbook.com/nxtbooks/ac/ac0617
https://www.nxtbook.com/nxtbooks/ac/ac0517
https://www.nxtbook.com/nxtbooks/ac/ac0417
https://www.nxtbook.com/nxtbooks/ac/ac0317
https://www.nxtbook.com/nxtbooks/ac/ac0217
https://www.nxtbook.com/nxtbooks/ac/ac0117
https://www.nxtbook.com/nxtbooks/ac/ac1216
https://www.nxtbook.com/nxtbooks/ac/ac1116
https://www.nxtbook.com/nxtbooks/ac/ac1016
https://www.nxtbook.com/nxtbooks/ac/ac0916
https://www.nxtbook.com/nxtbooks/ac/ac0816
https://www.nxtbook.com/nxtbooks/ac/ac0716
https://www.nxtbook.com/nxtbooks/ac/ac0616
https://www.nxtbook.com/nxtbooks/ac/ac0516
https://www.nxtbook.com/nxtbooks/ac/ac0416
https://www.nxtbook.com/nxtbooks/ac/ac0316
https://www.nxtbook.com/nxtbooks/ac/ac0216
https://www.nxtbook.com/nxtbooks/ac/ac0116
https://www.nxtbook.com/nxtbooks/ac/ac1215
https://www.nxtbook.com/nxtbooks/ac/ac1115
https://www.nxtbook.com/nxtbooks/ac/ac1015
https://www.nxtbook.com/nxtbooks/ac/ac0915
https://www.nxtbook.com/nxtbooks/ac/ac0815
https://www.nxtbook.com/nxtbooks/ac/ac0715
https://www.nxtbook.com/nxtbooks/ac/ac0615
https://www.nxtbook.com/nxtbooks/ac/ac0515
https://www.nxtbook.com/nxtbooks/ac/ac0415
https://www.nxtbook.com/nxtbooks/ac/ac0315
https://www.nxtbook.com/nxtbooks/ac/ac0215
https://www.nxtbook.com/nxtbooks/ac/ac0115
https://www.nxtbookmedia.com