American Cinematographer - January 2016 - 40

◗

Left for Dead

Glass and his
companions
escape an attack
in a crucial early
scene that was
shot in one take.

we could never do with film. In these
conditions, with lots of shadows and
limited time with sunlight, it was a very
good decision." According to Lubezki,
approximately 13 percent of The
Revenant was shot with the Alexa 65.
Lubezki describes the procuring
of cameras and lenses as "the most
40

January 2016

bizarre rental story." When the production returned the film-based package to
Panavision, they found themselves in a
substantial hurry to obtain the necessary
digital equipment. Various rental houses
worked to fulfill The Revenant's needs
- primarily Panavision and Arri
Rental, the latter of which provided the
American Cinematographer

Alexa 65 and its associated Arri Prime
65 lenses. "We were kind of stranded,
and the rental houses were very helpful,"
Lubezki recalls.
The Alexas all recorded in
uncompressed ArriRaw to Codex
512GB XR Capture Drives. The XT
and M cameras captured at 3415x2198
resolution and the 65 at 6560x3100.
Due to the nature of the story -
a mountain man fighting for survival,
primarily outdoors, in an era when sun,
moon, stars and fire would have been
his only possible light sources -
Iñárritu says it was essentially a nobrainer to shoot exclusively with natural
light. He concluded it was the only way
to achieve the level of realism he craved,
despite the difficulties the approach
would entail.
Lubezki notes that this method
did not contribute to the production's
extended schedule. "In reality," he says,
"shooting with natural light allows us to
shoot faster, because we didn't have to
drive lights into mountains and bring
more people to set up. The film fell
behind because it was [an unseasonably
warm winter] and we lost the snow
early, so we could not shoot the end of
the movie, and had to shut down [for
four months] before we could finish in



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

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
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American Cinematographer - January 2016 - 40
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American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
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