American Cinematographer - April 2014 - 65

lots of things like that. The philosophy
in executing these shots was to embrace
the physicality rather than get bogged
down with tons of complicated equipment."
Equally crucial for maintaining
the aesthetic Burger wanted were some
unconventional lens, lighting and
rigging choices. First AC Trevor
Loomis introduced Küchler to
Panavision's PVintage Prime Lenses
during prep to help the cinematographer achieve diffusion effects, something he'd found difficult to achieve
with digital camera systems. "I have
always liked to use [Tiffen] Black ProMist [filters] to give highlights a kind of
diffused glow, but with digital cameras
that ends up looking like 1970s softcore
porn," Küchler says. "The PVintage
lenses were great for creating the effect I
wanted with the Alexa. They are spherical, but they gave me that haze around
light sources that I had not been able to
create quite as well by filtering digital
cameras. That was quite useful, and we
used them extensively."
Loomis explains that the
PVintage primes are essentially reconstituted pieces of older Panavision glass
that the company has reengineered and
rehoused for today's digital systems. "It's
really the best of Panavision's old glass,
made great for digital cameras," says
Loomis. "With the DI, you can achieve
some diffusion in post, of course, but
that is not such a great process. Older
lenses are inherently softer and less
contrasty, so they automatically give you
a look that is closer to a film look. It's
not technically diffused, but it's that
kind of effect."
Küchler shot a majority of
Divergent with the PVintage primes,
the notable exceptions being sequences
in which characters are given drug treatments and experience hallucinations, or
simulations of scenarios that they
endure as part of the rigorous selection
process that leads to their choice of
faction. These sequences were all shot
with Panavision E Series anamorphic
lenses and Plus 1 diopters. "That gave
those scenes a slight disorientation and

Top: Four
watches a fight
within the
sparring ring.
Bottom: Director
Neil Burger
speaks with
James and Jai
Courtney (as
Eric). Over their
shoulders are
the LED-based
rigs used to
light the rings.

subtle differences without making them
the kind of conventional weird dreams
you see a lot in movies," Küchler says.
One of the most challenging of
these scenes was the "mirror sequence,"
in which Tris, after receiving an injection, wakes up in a room surrounded by
www.theasc.com

mirrors, disoriented by what Küchler
calls "an infinity mirror scenario." This
required Woodley to be photographed
from 167 different camera angles using
six different cameras, and lit softly so
that no camera shadows were cast on
her on the 360-degree greenscreen
April 2014

65



http://www.theasc.com

American Cinematographer - April 2014

Table of Contents for the Digital Edition of American Cinematographer - April 2014

Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
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