American Cinematographer - June 2018 - 60

◗

Burn After Reading

Despite his rise through the ranks, Montag begins
to question his role and sympathize with the cause
of the Eels - outcasts who have a plan to restore
the knowledge the Ministry seeks to destroy.

of-view feel that's different from the rest
of the movie," Morgenthau says.
One of Fahrenheit's most arresting visuals is the recurring point of view
from the Yuxie devices, revealing what
Big Brother sees as it monitors Montag
and the firemen. The 360-degree view
was created with six GoPro Hero4
Black cameras mounted in a GoPro
Omni rig; Vrakking stitched the six
images together into one frame.
For crane work - with 15', 30'
and 50' Technocranes, and Libra remote
heads - the crew has used 15-40mm
(T2.6), 19-90mm (T2.8) and 24275mm (T2.8) Primo Zooms, all
60

June 2018

detuned to better match the legacy
primes. Bahrani says that coming from
the indie world, cranes hadn't been a big
part of his language, but he's warmed to
them as the crew has put them to use for
such scenes as a firehouse exterior, a raid
that removes computers from an Eel
house, and McClellan's meeting with an
informant in front of a power plant.
The production is recording
3840x2160 files with AVC-Intra
compression, capturing to Panasonic
ExpressP2 memory cards, and often
taking advantage of the VariCam 35's
ability to shoot up to 120 fps, overcranking for slow-motion shots of fire.
American Cinematographer

The UHD resolution, Vrakking offers,
has suited the production well, "even for
the amount of visual effects we're going
to have. In the tests, it had enough resolution and color depth for visual effects
to do what they need. In order to shoot
raw, we would have had to add a Codex
[recorder], and there are so many handheld and Steadicam shots that [doing
so] would have taken away from the
production more than we would have
gained."
Morgenthau and Vrakking
worked with EFilm to create two main
LUTs for the movie, one for the firemen's world and another for the Eels'.
Building on those LUTs, Vrakking is
working with Pomfort's LiveGrade on
set to adjust color shot by shot, which he
says is necessary given the quirks of the
older lenses.
Vrakking describes the Eel LUT
as "warmer, with a little more saturation.
We're shooting in old buildings that
look like slums, so we've made it



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

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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