American Cinematographer - May 2016 - 51

The cinematographer acknowledges that this kind of shooting
marathon takes a physical toll, but adds,
"I couldn't give up operating because,
although we light sometimes, framing is
really the only way to make my mark."
To lessen the load, Vallée often took
over camera duties toward the end of
the day while Bélanger remotely
controlled the iris. This also allowed
him to evaluate the footage with a Rec
709 viewing LUT on a 17" or 40"
monitor. (The film does have its breaks
from the handheld approach, such as
when operator Brant Fagan performed
a Steadicam move in which Davis
outruns a group of boys on a rainslicked Coney Island boardwalk.)
"Yves is amazing technically with
the Alexa," Vallée offers. "We shot
mostly with available light, but he's
controlling the camera. He always
knows what filters to use. And he
communicates with John Paino, the
production designer. He tells him,
'Practicals, practicals! Replace this with
another practical.' Yves has a way of
seeing locations - he'll tell me, 'Bring
the action over here because I need this
light.'"
Bélanger primarily shot with old
T1.3 Zeiss Super Speed primes, adjusting their front-of-the-lens aperture
rings with his finger while operating.
He estimates 70 percent of the movie

Davis dances through the streets of New York.

was shot on a 35mm, which Vallée
prefers for its emotional connection
with actors in close-ups, and which
allowed the filmmakers to shoot in the
movie's many tight spaces. The 25mm
was the next most-popular choice,
www.theasc.com

followed by the 50mm and the 85mm,
along with a 135mm Zeiss Standard
Speed - the latter of which was used
on an improvised long shot in which
Davis and Karen chase seagulls on the
➣
beach at Coney Island.
May 2016

51


http://www.theasc.com

American Cinematographer - May 2016

Table of Contents for the Digital Edition of American Cinematographer - May 2016

Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
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