American Cinematographer - April 2020 - 54

Quest for Magic

pp Habib maps lenses. pt Steadicam operator Nick Schwyter records motions. pu Scanlon and story supervisor Kelsey Mann work in VR gear.

54

test for him. He kind of perked up
and said, 'Oh, I like it. I like the
texture this adds to the background.'
And of course, Sharon and her team
came in and helped to make that look
possible. But the way the anamorphic
lens renders the world was something
we all liked; we liked the way it called
back to those earlier fantasy films,
and how the unique texture gives
permission for magical things to
happen. In Camera and Staging, we
determined the degree and character
of distortion for each lens in the
anamorphic set. So, for example, the
look of the 50mm is unique from that
of the 35mm. We decided to create a
contrasting look for scenes of the boys
April 2020

in their ordinary, everyday world;
those have the look of Arri/Zeiss
Ultra Primes - spherical and flatter.
When the boys set out on the quest
and the adventure really kicks in, we
switch to the more 'characterful'
anamorphic-lens distortion. For the
third act, we were inspired by Cooke
S4s, somewhere between the clean
Ultra Primes and the characterful
anamorphics.
Do you incorporate imperfections into your work in order to
emulate reality?
Habib: [We do,] but sometimes
they're very hard to keep in! On Inside
Out, we tried to have a moment
where we missed focus, like the focus
American Cinematographer - 100 Years

was too slow coming onto the character, and we had to have that argument
- that discussion - no less than 20
times as that shot went down the
pipeline. The artists would think it
was a mistake and fix it, and then
we'd have to put it back in! So some
imperfections are easier to build in
than others. For Onward, we used
motion capture on some of the
cameras to capture the feeling of an
actual operator responding to the
performance of the characters. And
we had a Steadicam operator, Nick
Schwyter, come in and create a library
of various common motions such as
walks, runs and creeps. Our lead
artist, Jan Pfenninger, ran those



American Cinematographer - April 2020

Table of Contents for the Digital Edition of American Cinematographer - April 2020

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American Cinematographer - April 2020 - Cover1
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American Cinematographer - April 2020 - 1
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American Cinematographer - April 2020 - 32a
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