American Cinematographer - January 2017 - 79

top light on actors. "Because we had
a lot of wide shots, I had to light
every room so it would be lit on its
own, without me adding anything,"
she says. "I would only add [lights]
when we went in tighter. The fixtures
were on stands on the ground, lighting the actors from the side."
Due to all the practical locations, Hidden Figures proved to be a
very grip-heavy production. "To
achieve the soft look Mandy wanted,
I had to use very large bounces,"
reports key grip Chris Birdsong.
"There were several situations where
I had one whole side of a room
covered with bounce material - and
a lot of large teasers to help shape the
light."
The most challenging location
for the grip department, however,
was the wind tunnel at Lockheed
Martin. "It was a working wind
tunnel of impressive size," recounts
Birdsong. "One of our shots was a
high and wide crane shot of the space
capsule in front of the turbine. We
had to bring in the crane piece by
piece, by hand, because of the narrow
passageways we had to maneuver
around to reach the turbine area. At
various times we used a drone, a
Techno 50-foot, a Techno 30-foot
and an electric vehicle with both a
Russian Arm and a 15-foot Techno
arm attached to it."
Scenes throughout the film
played out in lengthy static shots,
long slow dolly moves or on the
Steadicam. Most moves were motivated by the characters; rarely did the
camera make an unmotivated move.
"Often, so much was going on within
a frame that we intentionally avoided
drawing attention to the camera,"
Walker offers.
To shoot the numerous corridor scenes, Ellson and the Steadicam
were often hard-mounted to the
dolly. The scene in question depicts
the African-American computers
walking proudly from their basement
office in the segregated West
Computing Group building to the


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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
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American Cinematographer - January 2017 - 14
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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
American Cinematographer - January 2017 - 59
American Cinematographer - January 2017 - 60
American Cinematographer - January 2017 - 61
American Cinematographer - January 2017 - 62
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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 - 70
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American Cinematographer - January 2017 - 78
American Cinematographer - January 2017 - 79
American Cinematographer - January 2017 - 80
American Cinematographer - January 2017 - 81
American Cinematographer - January 2017 - 82
American Cinematographer - January 2017 - 83
American Cinematographer - January 2017 - 84
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American Cinematographer - January 2017 - 89
American Cinematographer - January 2017 - 90
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American Cinematographer - January 2017 - 100
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American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
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