American Cinematographer - May 2018 - 56

◗

Friend in Need
Operatives
Raffik
(Mohamed
Attougui) and
Crowder stand
guard during
the prisoner
exchange.
Streetlightmotivated
toplight is
provided by an
Arri SkyPanel
atop an
adjacent
building.

along and get as much coverage as we
needed."
The director further notes that he
couldn't have been happier with his
choice of cinematographer, whom he
dubbed "the 'Energizer Belgian.' I lucked
out. Björn has a bottomless level of
energy and enthusiasm, and he keeps the
crew and cast super excited. I'd work with
him again in a heartbeat."
Charpentier concludes, "Honestly,
this was one of the happiest shoots I've
done. I was surrounded by talented
people - Jon Hamm and Rosamund
Pike, a great art director, a great crew, and
a director who knows exactly what he
wants and gives you freedom. My agent
said, 'Don't think it's always going to be
like that!'"
●
replaced, the cinematographer explains,
because "I did not want to have sodium
on the faces or in the film, unless it was
in the far background. That is why I
replaced all the lights with mercury
lights to have a green/blue look instead
of the orange one."
Taking inspiration from Barry
Ackroyd, BSC's work on Green Zone
(AC April '10), Charpentier opted to
shoot the wides in silhouette, backlight56

May 2018

ing the background buildings with
Dinos and adding smoke. "When doing
the close-ups, I had a very small LED
panel to give something in the eyes. We
also had bomb explosions close by, on
both angles, with Dino lights creating
that bomb effect." The climax was shot
with Elites set at 2.8.
Anderson adds, "In general, it was
lit so we had a 360-degree set, which
was great! It meant we could really cook
American Cinematographer

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT
Optica Elite MK-IV,
Kowa Prominar,
Angenieux HR



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

Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
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American Cinematographer - May 2018 - 28
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American Cinematographer - May 2018 - 30
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American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
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American Cinematographer - May 2018 - 40
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American Cinematographer - May 2018 - 43
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American Cinematographer - May 2018 - 45
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American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
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American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
American Cinematographer - May 2018 - 56
American Cinematographer - May 2018 - 57
American Cinematographer - May 2018 - 58
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American Cinematographer - May 2018 - 84
American Cinematographer - May 2018 - 85
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American Cinematographer - May 2018 - 88
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