American Cinematographer - June 2017 - 24

Right: Vasyanov
and crew prepare
to shoot at the
eponymous wall,
which was built
on location in
Lancaster, Calif.
Below: Vasyanov
(looking through
eyepiece) and
director Doug
Liman (right) line
up a shot.

Keslow had us back up and running very
quickly each time. We also had a little trouble with sand in the magazines, but, amazingly, when we got to dailies we would
rarely see any scratches on the film. That
was a blessing!"
The cinematographer chose Kodak
Vision3 50D 7203 as his stock for the entire
feature. "The grain is so fine at 50D that it
never gets in the way," he offers, adding, "I
don't like to use too many filters in front of
the glass, so the daylight stock just made
sense."
24

June 2017

Vasyanov rated the 7203 at its native
ISO for much of the production, but would
often switch to a rating of 25 ISO and pullprocess the stock by one stop. "FotoKem
handled our processing, and they were
fantastic," the cinematographer says. "I
used the pull-process at times because the
contrast was so harsh, and I needed to lift
the shadows a little bit and reduce the overall contrast of the image. A portion of the
story is about our hero struggling with the
sun; when it's overhead he has no cover, no
protection. I did bring in some bounce fill
American Cinematographer

and, at times, negative fill, but the pullprocess helped a lot with keeping the
contrast in line."
The story of The Wall takes place all
in one day and was mostly shot via dualcamera coverage, with Vasyanov operating
the A camera and Martin Schaer as the Bcamera operator. "We didn't really use any
lighting out there - just bounce and negative fill," Vasyanov recalls. "We'd put our
bounces on the ground to keep that feeling
of the sun bouncing off the sand, because
that was most natural. When you start
putting lights into a situation like this, you
immediately see that it's very artificial, and I
think it was really important to keep the
lighting subtle and maintain the documentary look. This was pretty much a grip show,
and I had an amazing key grip, Manny
Duran. My gaffer, Joshua Stern, was there
to help me dial-in the placement of the
bounces and keep an eye on exposure.
"We brought in a big 20-by-40 solid,
mounted to a Gator [utility vehicle]," he
adds. "We'd move that around where
needed for big negative fill or to create the
shadow from the wall when we were right
up against it."
FotoKem scanned the Super 16mm
footage at 4K resolution, and those files
were then passed along to Harbor Picture
Co. in New York for the film's digital inter-



Table of Contents for the Digital Edition of American Cinematographer - June 2017

Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
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American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
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American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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