American Cinematographer - January 2016 - 42

◗

Left for Dead

Top: A
Steadicam
mounted on an
ice sled was
used to capture
Glass' trek
through the
snow. Middle: A
wide shot
conveys Glass'
isolation in the
wilderness.
Bottom: Lubezki
worked with
natural light in
order to underscore the realism
of Glass' fight
for survival.

Argentina. Beyond that, the big issue
was that in the woods in the winter in
Canada, the natural window to shoot
each day was short. The sun came out at
about 9:30 or 9:45 every morning and
was sinking by about 3:45, which is a
42

January 2016

short shooting day."
The other complexity involved
implementing Iñárritu's preferred style
of extremely long takes with few cuts,
an approach that loosely followed the
methodology employed on Birdman.
American Cinematographer

"We weren't shooting Revenant in [a
one-take style]," Iñárritu explains. "But
I would say there was a beautiful development here from what we learned on
Birdman, in terms of the value of wide
lenses, and how to sustain long shots
and why. For instance, in the scene in
which [a trapper encampment is
attacked], I wanted to cover [the action]
without lots of chopping or trying to
show every angle. I wanted to show one
point of view to allow the audience to
experience personally what it must feel
like to be attacked in that way. That was
very challenging, because we had to
shoot the sequence straight for about an
hour and a half. It was like a live performance."
Operator Scott Sakamoto
describes the attack as "a long, choreographed sequence starting with an
arrow coming out of nowhere and
hitting a trapper in the neck. The
camera continues to a guy coming down
a hill, bloody and injured, then pans
back to our terrified trappers, who are
hearing and seeing arrows coming from
all directions, and then follows them
through combat. [It was] all achieved
with a Steadicam and handheld camera
- and finished with a Technocrane -



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
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
American Cinematographer - January 2016 - 10
American Cinematographer - January 2016 - 11
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American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
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American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
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American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
American Cinematographer - January 2016 - 26
American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
American Cinematographer - January 2016 - 32
American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
American Cinematographer - January 2016 - 59
American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
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
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
American Cinematographer - January 2016 - 68
American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
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American Cinematographer - January 2016 - 73
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American Cinematographer - January 2016 - 78
American Cinematographer - January 2016 - 79
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American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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