American Cinematographer - June 2016 - 82

◗

Old-School Thrills
Top: Healy and
March find
trouble at the Los
Angeles Auto
Show. Bottom
left: The crew
preps an autoshow scene.
Bottom right: The
Alexa is mounted
on a high hat and
dolly wheels.

so Rousselot could use them as light
sources, and to add some visual interest.
"The integration between the art
department and lighting department is
important, because the more you can
build into the set, the less you have to
inconvenience your cast and crew with
lighting instruments that are in the way,"
says Stern. "If you can light a room with
just one additional light instead of 20,
that gives the actors more freedom to
move around, and helps you bring an
audience into the story."
Rousselot agrees, and sees his
relationships with the other design
82

June 2016

departments as highly practical. "I'm not
telling them what he or she should do,"
he says. "It's not my job; they don't need
my advice. Set design is a bit more
involved, but they still don't need me to
tell them what color to put on the wall.
The aesthetic is theirs."
G and E Series anamorphic
prime lenses were rented from
Panavision Woodland Hills, and an
Optimo 56-152mm A2S (T4) compact
anamorphic zoom was provided by
Angenieux. A Red Epic Dragon with
Kowa anamorphic primes was used for
drone shots of the hedonistic party.
American Cinematographer

With the exception of NDs, Rousselot
eschewed filtration. "I was never fond of
doing things like bleach bypass, or flashing, or putting a lot of stuff in front of
the camera," he explains. "Sometimes I
did, but not very often. My policy is to
be as simple as possible and then do all
the tricks later in the DI - and then I
go into the DI, and I don't use any tricks,
or very few!
"This may seem controversial,"
Rousselot continues, "but I care more
about what the film is going to be as a
whole than my cinematography, because
my work will never be better than the



American Cinematographer - June 2016

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

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
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American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
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American Cinematographer - June 2016 - 31
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American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
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