American Cinematographer - March 2018 - 48
◗
Expedition Unknown
Top left: Lena studies a strange creature living in the Shimmer. Top right: The surveyor wields a video
camera. Above: Hardy, Garland and 1st AC Ryan Taggart prepare a shot.
notes that they coupled the camera with
the "very clean glass" of Panavision
Primo Anamorphic Prime lenses. "The
Sony camera has such a well-rounded
look," he offers. "It's so beautiful and has
a very filmic way of dealing with things.
The sensor really 'understands' the
subtleties and strange values of the glass.
I knew I would have a very soft feel with
the F65."
48
March 2018
As the Shimmer and its frightening implications are introduced, Hardy
subtly shifted to the Red camera fitted
with Panavision G Series Anamorphic
Primes - a rig that became his workhorse for footage inside Area X. "The
Red had a snappy feel, bringing the
jungle environment right out into the
forefront," he says. "It didn't pull any
punches, whereas the Sony camera was
American Cinematographer
more subtle. And when we got to Area
X, we couldn't pull any punches - that's
when the Red came into its own."
Though the crew had tested one,
an 8K Red unit wouldn't be productionready in time for the shoot. Nonetheless,
Hardy says, "The 6K gave us everything
we needed. The sensor seemed to
'aggravate' the outer edges of the G
Series lenses exactly how we wanted."
The production shot Redcode
Raw files at 3:1 compression - the least
amount the camera allows - and
recorded to 256GB and 512GB Red
Mini-Mags. A Standard OLPF (optical
low-pass filter) was used throughout.
Hardy pressed Panavision Ultra
Panatar anamorphic lenses into service
for heightened visual moments, such as
a scene in which Lena wakes up and
sees abstracted colors in the air through
an opening in her tent. When she
returns to the normal world yet remains
affected by what she's seen, the cinematographer stuck with the Red but
went back to the Primos.
"It's very complicated," he reflects
with a laugh. "First AC Jennie Paddon
was pulling her hair out with the whole
system and saying, 'This is crazy!' But in
a subtle way it works." Adding yet
another variable, Hardy handheld a
Table of Contents for the Digital Edition of American Cinematographer - March 2018
Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
American Cinematographer - March 2018 - 6
American Cinematographer - March 2018 - 7
American Cinematographer - March 2018 - 8
American Cinematographer - March 2018 - 9
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American Cinematographer - March 2018 - 11
American Cinematographer - March 2018 - 12
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American Cinematographer - March 2018 - 17
American Cinematographer - March 2018 - 18
American Cinematographer - March 2018 - 19
American Cinematographer - March 2018 - 20
American Cinematographer - March 2018 - 21
American Cinematographer - March 2018 - 22
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American Cinematographer - March 2018 - 26
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American Cinematographer - March 2018 - 28
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American Cinematographer - March 2018 - 30
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American Cinematographer - March 2018 - 33
American Cinematographer - March 2018 - 34
American Cinematographer - March 2018 - 35
American Cinematographer - March 2018 - 36
American Cinematographer - March 2018 - 37
American Cinematographer - March 2018 - 38
American Cinematographer - March 2018 - 39
American Cinematographer - March 2018 - 40
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American Cinematographer - March 2018 - 42
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American Cinematographer - March 2018 - 47
American Cinematographer - March 2018 - 48
American Cinematographer - March 2018 - 49
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American Cinematographer - March 2018 - Cover3
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