American Cinematographer - April 2018 - 67

[shot by James Wong Howe, ASC; AC
Nov. '97], and he wanted some shots to
look like that. The 16mm has very bad
minimum focus, so we had some of
them shimmed out. But compositionally, we weren't making the most of it,
because in order for that lens to look as
bendy as possible, you need a diagonal
of receding size in the frame. Wes wants
symmetrical compositions, so we were
only seeing the distortion in the set at
the edges of the frame. Eventually, he
found a way of working with that.
He also wanted to do some
zooms, so we had some really good,
lightweight Canon cine zooms, the
[CN-E] 15.5-47mm and 30-105mm
[both T2.8], which we had adapted to
cover our full-frame sensor. Of course,
we were immediately compromised in
terms of depth of field, and Wes wanted
crisp depth of field while zooming.
With Wes, there's always a conflict with
Newton. [Laughs.]
We arrived at a solution that we

applied to zooms and even occasionally
to shots we made with primes: we broke
the shot into planes and shot each plane
separately. For example, if we were filming a dog close with other dogs behind,
we'd shoot the close-up with greenscreen and then refocus on the midground and shoot the rest of the shot to
get both a sharp mid-ground and a
sharp foreground. Because the dogs
were hairy and getting a key off the
green was so difficult, every close-up
involved shooting a frame with greenscreen and a frame without; we had
greenscreens on rails that could be
pulled in and out like curtains. That way
the visual-effects team could extract the
hair detail from the non-greenscreen
frame and then use the greenscreen as a
match to sort of soft-edge it back into
the image.
How do those look comped
together?
Oliver: Your eye senses something strange, but you're not quite sure

what it is. However, I'm sure that won't
detract from people's pleasure in watching the movie. Isle of Dogs is an absolute
distillation of Wes Anderson. If you like
his movies, you will love this one. ●

TECHNICAL SPECS
2.39:1
Digital Capture
Canon EOS-1D X
Nikon, Canon, Sigma

67



http://www.kinoflo.com

Table of Contents for the Digital Edition of American Cinematographer - April 2018

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
American Cinematographer - April 2018 - 2
American Cinematographer - April 2018 - Contents
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American Cinematographer - April 2018 - Cover3
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