American Cinematographer - January 2017 - 87
little bit for that, because Denzel likes
when it's static and on the dolly."
The director did come to love a
zoom lens, she adds, since "the camera
and the character [tend to] stay in the
same place, and we can intensify [the
shot] just by using that zoom really
slowly." The production used two
anamorphic zooms: Panavision's AWZ2
40-80mm (T2.8) and ATZ 70-200mm
(T3.5). "We used the longer zoom
mainly for exteriors, but there were a
couple of shots inside the house where
we would use it when Denzel looked
through the distance of three rooms at
Viola in the kitchen. [Shooting] on
35mm [and] anamorphic zooms in
small spaces, I need to give special credit
to my amazing focus puller and collaborator, Glenn Kaplan!"
Even when shooting Steadicam
or handheld, Christensen and
Thompson sometimes did so with full
1,000' rolls in the camera. "We did a lot
to meet the desire [to shoot continuous]
scenes," the cinematographer says. As
she explains, it wasn't a question of
shooting a close-up and cutting, but
"actually making the shot work for a
long take. That was a big challenge for
me, because we could have an idea of
how the shot would look, but then
Denzel would come in and block it as an
actor. I thought, 'How can we make this
shot continuous?' Once he turns his
back to the camera and goes somewhere, I would have to move the camera
to follow him. So there were a lot of
instant creative decisions."
Throughout
production,
Christensen would send footage
samples and pre-graded high-resolution
stills to supervising digital colorist and
ASC associate Michael Hatzer at
Technicolor in Hollywood. "She wanted
to make sure the photography
supported the time period of the film,
and those early samples and stills gave
us detailed ideas for each scene that we
carried through the DI," says Hatzer,
who also worked with the director of
photography on the DI for The Girl on
the Train. Technicolor's vice president of
imaging research and development,
http://www.koernercamera.com
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American Cinematographer - January 2017
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 - 20
American Cinematographer - January 2017 - 21
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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
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American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
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