American Cinematographer - May 2014 - 16
image quality wasn't worth the sacrifice of
time and options." The comparatively lightweight Blackmagic, he continues, rendered
images that "held up on the big screen and
had an aesthetic Joey and I both liked."
Stonesifer used an MFT-to-PL-mount
lens adapter for most of the shoot, employing Arri/Zeiss Ultra Prime lenses, mainly a
20mm. "With the [2.5K] sensor crop factor
of 1.6, when we put a 20mm lens on it, the
field of view was equivalent to what I was
used to seeing with a Super 35 32mm
lens," he notes. He occasionally used Canon
CN-E15.5-47mm and CN-E30-105mm
zoom lenses, which "held up extremely well
beside the Ultra Primes. They were great for
moving a little quicker toward the end of
the shoot."
He used an EF model Blackmagic
Cinema Camera for a POV shot captured
with a Canon 100mm Macro IS USM lens:
Jack sees a recycling symbol on his bathroom sink and gets the idea to go to the box
factory.
Stonesifer typically shot between a
T5.6 and T8. "If you're shooting a human 6
feet away on a 50mm lens at T2 or T2.8,
you'll have 4 to 6 inches of focus," he says.
"If you want the same perceived focus on a
puppet 10 inches away, you have to stop
down substantially." He adds that he used
no lens filtration. "We wanted to see the
texture of the cardboard."
Several tools were employed to
achieve the small-scale moves, including a
Dana dolly, 3' and 4' sliders, a VZQuickJib
and a 19' JimmyJib arm. Some shots were
handheld. In the box factory, the chute Jack
slides down was a 4'x4' set that was 14' tall
and featured removable side panels. To
maneuver in such a small space, the crew
used a Blackmagic Pocket Cinema Camera
and Super 16 Zeiss Super Speed prime
lenses. The full-sized Blackmagic cameras
captured in CinemaDNG raw to built-in SSD
recorders, and the Pocket captured in
ProRes 4:2:2 to SDXC cards. (The final
aspect ratio was 2.40:1.) Camera assistant
James Gustafson served as a part-time DIT.
"We had the Pocket camera on a
monopod, out of which we ran a BNC
cable," explains Stonesifer. "We were
converting the camera's HDMI signal to
HD-SDI for monitoring. We had a wireless
follow focus so the camera assistant could
Top to bottom:
Jill's death spurs
Jack to drastic
action;
puppeteers
maneuver the
"actors" in the
cardboard
hospital;
cinematographer
Bradley
Stonesifer (left)
supervises the
lighting over
Jack's home; a
recycling truck
rumbles past
Jack.
16
May 2014
American Cinematographer
American Cinematographer - May 2014
Table of Contents for the Digital Edition of American Cinematographer - May 2014
Contents
American Cinematographer - May 2014 - Cover1
American Cinematographer - May 2014 - Cover2
American Cinematographer - May 2014 - 1
American Cinematographer - May 2014 - 2
American Cinematographer - May 2014 - Contents
American Cinematographer - May 2014 - 4
American Cinematographer - May 2014 - 5
American Cinematographer - May 2014 - 6
American Cinematographer - May 2014 - 7
American Cinematographer - May 2014 - 8
American Cinematographer - May 2014 - 9
American Cinematographer - May 2014 - 10
American Cinematographer - May 2014 - 11
American Cinematographer - May 2014 - 12
American Cinematographer - May 2014 - 13
American Cinematographer - May 2014 - 14
American Cinematographer - May 2014 - 15
American Cinematographer - May 2014 - 16
American Cinematographer - May 2014 - 17
American Cinematographer - May 2014 - 18
American Cinematographer - May 2014 - 19
American Cinematographer - May 2014 - 20
American Cinematographer - May 2014 - 21
American Cinematographer - May 2014 - 22
American Cinematographer - May 2014 - 23
American Cinematographer - May 2014 - 24
American Cinematographer - May 2014 - 25
American Cinematographer - May 2014 - 26
American Cinematographer - May 2014 - 27
American Cinematographer - May 2014 - 28
American Cinematographer - May 2014 - 29
American Cinematographer - May 2014 - 30
American Cinematographer - May 2014 - 31
American Cinematographer - May 2014 - 32
American Cinematographer - May 2014 - 33
American Cinematographer - May 2014 - 34
American Cinematographer - May 2014 - 35
American Cinematographer - May 2014 - 36
American Cinematographer - May 2014 - 37
American Cinematographer - May 2014 - 38
American Cinematographer - May 2014 - 39
American Cinematographer - May 2014 - 40
American Cinematographer - May 2014 - 41
American Cinematographer - May 2014 - 42
American Cinematographer - May 2014 - 43
American Cinematographer - May 2014 - 44
American Cinematographer - May 2014 - 45
American Cinematographer - May 2014 - 46
American Cinematographer - May 2014 - 47
American Cinematographer - May 2014 - 48
American Cinematographer - May 2014 - 49
American Cinematographer - May 2014 - 50
American Cinematographer - May 2014 - 51
American Cinematographer - May 2014 - 52
American Cinematographer - May 2014 - 53
American Cinematographer - May 2014 - 54
American Cinematographer - May 2014 - 55
American Cinematographer - May 2014 - 56
American Cinematographer - May 2014 - 57
American Cinematographer - May 2014 - 58
American Cinematographer - May 2014 - 59
American Cinematographer - May 2014 - 60
American Cinematographer - May 2014 - 61
American Cinematographer - May 2014 - 62
American Cinematographer - May 2014 - 63
American Cinematographer - May 2014 - 64
American Cinematographer - May 2014 - 65
American Cinematographer - May 2014 - 66
American Cinematographer - May 2014 - 67
American Cinematographer - May 2014 - 68
American Cinematographer - May 2014 - 69
American Cinematographer - May 2014 - 70
American Cinematographer - May 2014 - 71
American Cinematographer - May 2014 - 72
American Cinematographer - May 2014 - 73
American Cinematographer - May 2014 - 74
American Cinematographer - May 2014 - 75
American Cinematographer - May 2014 - 76
American Cinematographer - May 2014 - 77
American Cinematographer - May 2014 - 78
American Cinematographer - May 2014 - 79
American Cinematographer - May 2014 - 80
American Cinematographer - May 2014 - 81
American Cinematographer - May 2014 - 82
American Cinematographer - May 2014 - 83
American Cinematographer - May 2014 - 84
American Cinematographer - May 2014 - 85
American Cinematographer - May 2014 - 86
American Cinematographer - May 2014 - 87
American Cinematographer - May 2014 - 88
American Cinematographer - May 2014 - 89
American Cinematographer - May 2014 - 90
American Cinematographer - May 2014 - 91
American Cinematographer - May 2014 - 92
American Cinematographer - May 2014 - Cover3
American Cinematographer - May 2014 - Cover4
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