American Cinematographer - January 2017 - 73

Spielmann's Austrian film Revanche
(shot by Martin Gschlacht) for the
way scenes play out without resorting
to cutting. "It is one of the most riveting films I have seen in years, precisely
because it doesn't cut a lot," says
Melfi. "Classic cinema, in which
action, dialogue and events take place
in a composed frame, can produce just
as much tension and suspense."
Melfi was incredibly organized
from the get-go, Walker reports. "He
and I put together a thick production
bible," she says. "He gave me a [tag
line] for every scene in the movie and
what he was trying to say in that scene
in terms of the storytelling and journey of the characters. We storyboarded the whole film - something
I had never done before - took location photos, and went back to every
location to line up and shoot stills of
the way we would cover each scene.
During the actual shoot we were
doing 30 setups a day on average, with
two cameras. One day we shot 100
setups."
Hidden Figures was primarily a
two-camera affair - employing
Panavision Panaflex Millennium
XL2s rented from Panavision
Woodland Hills - with Acamera/Steadicam operator Jason
Ellson generally shooting wide and
B-camera operator Mick Froehlich
going tighter. Walker selected three
Kodak Vision3 stocks for the 4-perf
35mm shoot: 50D 5203, 250D 5207
and 500T 5219. Two Arriflex 416s
were pressed into service for the film's
opening sequence, which introduces
Johnson as a child in 1926. It was the
only segment shot on Super 16mm,
using the 16mm-gauge versions of the
same three Kodak Vision3 stocks.
The Arriflex cameras were paired
with Panavision Ultra Speed spherical
lenses, and zooms including Canon's
8-64mm (T2.4).
"We did a [2.39:1] extraction
from the Super 16 frame in order to
match our anamorphic," reports
Walker. "That also made it grainier,
which we wanted." The sequence was

Top: Vaughan leads a team of fellow mathematicians. Middle: Flanked by Vaughan and
Jackson, Johnson meets John Glenn (Glen Powell), whom the women will help send into orbit.
Bottom: The crew readies a space-capsule interior.

www.theasc.com

January 2017

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

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
American Cinematographer - January 2017 - 8
American Cinematographer - January 2017 - 9
American Cinematographer - January 2017 - 10
American Cinematographer - January 2017 - 11
American Cinematographer - January 2017 - 12
American Cinematographer - January 2017 - 13
American Cinematographer - January 2017 - 14
American Cinematographer - January 2017 - 15
American Cinematographer - January 2017 - 16
American Cinematographer - January 2017 - 17
American Cinematographer - January 2017 - 18
American Cinematographer - January 2017 - 19
American Cinematographer - January 2017 - 20
American Cinematographer - January 2017 - 21
American Cinematographer - January 2017 - 22
American Cinematographer - January 2017 - 23
American Cinematographer - January 2017 - 24
American Cinematographer - January 2017 - 25
American Cinematographer - January 2017 - 26
American Cinematographer - January 2017 - 27
American Cinematographer - January 2017 - 28
American Cinematographer - January 2017 - 29
American Cinematographer - January 2017 - 30
American Cinematographer - January 2017 - 31
American Cinematographer - January 2017 - 32
American Cinematographer - January 2017 - 33
American Cinematographer - January 2017 - 34
American Cinematographer - January 2017 - 35
American Cinematographer - January 2017 - 36
American Cinematographer - January 2017 - 37
American Cinematographer - January 2017 - 38
American Cinematographer - January 2017 - 39
American Cinematographer - January 2017 - 40
American Cinematographer - January 2017 - 41
American Cinematographer - January 2017 - 42
American Cinematographer - January 2017 - 43
American Cinematographer - January 2017 - 44
American Cinematographer - January 2017 - 45
American Cinematographer - January 2017 - 46
American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
American Cinematographer - January 2017 - 52
American Cinematographer - January 2017 - 53
American Cinematographer - January 2017 - 54
American Cinematographer - January 2017 - 55
American Cinematographer - January 2017 - 56
American Cinematographer - January 2017 - 57
American Cinematographer - January 2017 - 58
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American Cinematographer - January 2017 - 60
American Cinematographer - January 2017 - 61
American Cinematographer - January 2017 - 62
American Cinematographer - January 2017 - 63
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American Cinematographer - January 2017 - 65
American Cinematographer - January 2017 - 66
American Cinematographer - January 2017 - 67
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American Cinematographer - January 2017 - 69
American Cinematographer - January 2017 - 70
American Cinematographer - January 2017 - 71
American Cinematographer - January 2017 - 72
American Cinematographer - January 2017 - 73
American Cinematographer - January 2017 - 74
American Cinematographer - January 2017 - 75
American Cinematographer - January 2017 - 76
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American Cinematographer - January 2017 - 78
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American Cinematographer - January 2017 - 82
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American Cinematographer - January 2017 - 84
American Cinematographer - January 2017 - 85
American Cinematographer - January 2017 - 86
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American Cinematographer - January 2017 - 100
American Cinematographer - January 2017 - 101
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American Cinematographer - January 2017 - 104
American Cinematographer - January 2017 - 105
American Cinematographer - January 2017 - 106
American Cinematographer - January 2017 - 107
American Cinematographer - January 2017 - 108
American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
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