American Cinematographer - December 2015 - 84

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Endgame
open and let everything fall off really
heavily, so I'm usually shooting at T5.6
or T5.6 plus ½. With anamorphic it falls
off quicker, anyway."
The filmmakers leaned most
heavily on lengths of 40mm, 60mm,
75mm and 100mm. A few wide shots
called for 30mm and 35mm lengths,
while the occasional close-up made use
of a 135mm. "Limiting yourself to fewer
focal lengths gives you a little more style
and visual continuity," Willems opines.
"It's about sticking to a code of simplicity and naturalism."
Willems is particularly fond of
the C Series, which was generally fitted
to the A camera. He says he used the E
Series on the B camera "a bit out of
necessity. It's difficult to get lenses for
anamorphic now, particularly these
older lenses that lend themselves so well
to digital. I don't use diffusion filters; if
you use an older, gentler lens with lower
contrast, you don't have to. There's more
softness to the C Series lenses, which
produce very pleasing skin tones. The E
Series is sharper, but they blend well
together, and we could blend them
further in the DI."
The cinematographer points out
that the lenses sometimes "fall apart a
little," which he considers a good thing.
"A light might make a flare that flattens
the image a bit, but I like that the image
is a little flawed and broken down at
times. The audience is more connected
with a story and believes the world more
if things aren't always perfect."
G Series primes were brought in
for some close-focus work, and 4080mm AWZ2 (T2.8) and 70-200mm
ATZ (T3.5) zooms were employed on
crane and aerial shots.
The sewer sets built at
EUE/Screen Gems Studios Atlanta had
ceilings barely higher than the actors,
who were knee-deep - and sometimes
neck-deep - in water. To keep pace
with the actors, Micheletti laid track at
the edges of the 5'-wide canal so
Thompson could be quickly pulled
along on the dolly, the wheels of which
were underwater.
Light was provided by the actors'

Top: Katniss shares
a moment with
Haymitch
Abernathy (Woody
Harrelson), who
mentored her
through her first
Hunger Games.
Middle: Alma Coin
(Julianne Moore),
president of District
13 and a leader of
the rebel forces,
makes a public
address. Bottom:
President Snow
(Donald
Sutherland)
maintains his grip
on the rest of
Panem.

84

December 2015

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - December 2015

Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
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