American Cinematographer - October 2017 - 58

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Devil in the Details

Top: In 1997, Fitzgerald lives a secluded life in Northern California. Above: Fitzgerald travels to Stanford
to consult with a friend regarding the imprisoned Kaczynski's request to meet face to face.

typewriter font: "In 1995, as we are
introduced to our characters, we will
lean gently towards wide and elegant
shots, with dolly moves, symmetry, and
(maybe) some zooms. We slowly begin
to understand the world we are in, the
stakes, and the people involved."
Galler photographed most of
Manhunt with Primo primes from
Panavision Atlanta, leaning heavily on
the 21mm, 27mm and 40mm. "The
27mm worked great for all the actors in
1995, and as we get closer to Ted, and
the line between him and Fitz becomes
more blurred, we started going onto the
longer end of our lenses - maybe a
40mm or a 65mm," says Galler. "For
58

October 2017

Technocrane shots, we used the 1990mm Primo Zoom PCZ [T2.8] and
the 15-40mm Primo Zoom PZW
[T2.6], but we tried to stay on primes
unless necessary, or if we knew we were
going to zoom during the shot."
Another card reads, "The lighting for the 1995 sections should feel real
and unembellished. We can play with
the tone and the feeling of dread - the
mail is so ubiquitous, and no one knows
who is behind these bombings." The
Panasonic Cinema VariCam 35 camera,
with its dual native ISO settings
(800/5,000), helped facilitate this
approach. At the higher ISO setting,
both large night exteriors and interiors
American Cinematographer

were lit with a mix of LEDs and practical sources. "The VariCam has a look
that's different from the [Arri] Alexa,"
Galler notes. "There's some texture at
the higher ISO settings, but it's not
offensive like digital noise."
Written on another one of
Galler's look-book pages: "1997 should
feel more stylized than 1995, with
longer lenses and more frenetic movement. The world is brighter in parts,
and darker in others, with slightly less
saturation, and a cooler color temperature. We will also employ softer
contrast, flares, and occasionally shooting through obstructions like glass."
During the production, Galler
and Yaitanes abandoned this particular
approach in lieu of a more grounded
one "because the viewers need to feel
like they're discovering things along
with the characters," the cinematographer explains. "If they're thinking about
the lighting, or a camera move, or a lens
flare, that's a problem." He used Tiffen
Pro-Mist filters, however, and he did
switch to longer lenses as the FBI's
investigation closes in on its target. "The
look-books were really just a stepping
off point," he shares. "Visuals evolve."
Galler's last look-book entry
suggests, "We can also do some nontraditional coverage to elevate tension
where needed." He elaborates during
our conversation, "We had these 11page scenes of people sitting across from
each other at tables. We got into a
chopped-up visual language, using
Panavision Frazier lenses to go in for
macro shots on people's faces. This is so
out of the realm of normal coverage;
maybe that's where we sacrificed some
of our objectivity, to get those details in."
The set is located a short drive
away from the production office, at a
decommissioned military base called
Fort McPherson. On the way over,
Discovery's press liaison explains that
most of the series has been shot in
Atlanta
proper,
while
the
Chattahoochee National Forest, a
couple hours' drive north, convincingly
portrays the scrubby woods of
Montana.



Table of Contents for the Digital Edition of American Cinematographer - October 2017

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
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American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
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American Cinematographer - October 2017 - 14
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American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
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American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
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American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
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American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
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