American Cinematographer - July 2012 - 43

‘We have to shoot anamorphic. If you want to shoot Super 35 or digitally, then I’m really not your guy.’ “I think Oliver was caught unawares because he hadn’t made a ’Scope film in a long time, and I think he sort of forgot what a powerful medium it is,” Mindel continues. “He began to consider the anamorphic films he’d done and reflected on what the issues were. Eventually he came around and fully embraced the idea.” Working with Panavision in Woodland Hills, Calif., Mindel chose his favorite set of Primo and C-Series anamorphic lenses, as well as some Primo anamorphic zooms (3:1 ALZ3, 11:1 ALZ11, ATZ 70-200mm and AWZ2 40-80mm), to go with Panaflex Millennium XLs. “Since Skeleton Key [2005], we’ve had a numbered set of Primo and C-Series lenses that we try to use on every picture,” he reveals. “They’re hand-picked, and each has different characteristics in terms of color and sharpness. My crew and I know these lenses intimately, and I take a lot of pleasure in acquainting others with them. After a couple of weeks of shooting, Oliver was able to see the subtle differences in each one.” “Occasionally some new [anamorphic lenses] will come in on a show, and we’ll run them up against our set,” notes 1st AC Serge Nofield, who works with Panavision to track Mindel’s favored set. “We’ll shoot a ton of live tests with charts and also scenes with actors, because a focus chart really doesn’t tell a story like we’re eventually going to tell it.” The production’s locations included sites in and around Los Angeles, as well as sites in Malibu, the San Fernando Valley, Orange County, Simi Valley and Santa Clarita. Secondunit work was also shot (by Matthew J. Lloyd, CSC) in Mexico and Indonesia. Shooting entirely on location meant a company move more or less every day, so Mindel’s approach was to keep things “natural and simple, to let the film and the lenses do what they do. That meant when we got to a location,
www.theasc.com

Opposite page: Ruthless drugcartel enforcer Lado (Benicio Del Toro) shotguns smoke into the mouth of kidnap victim Ophelia (Blake Lively). This page, top to bottom: Before she is kidnapped, Ophelia chills with her two boyfriends, marijuana growers Chon (Taylor Kitsch, left) and Ben (Aaron Johnson); the business partners consult with their associate, Spin (Emile Hirsch, seated); cinematographer Dan Mindel, ASC, BSC meters Lively while she and director Oliver Stone rehearse a scene with Kitsch and Johnson.

Photos by François Duhamel, SMPSP, courtesy of Universal Pictures.

July 2012

43

http://www.theasc.com

American Cinematographer - July 2012

Table of Contents for the Digital Edition of American Cinematographer - July 2012

American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
American Cinematographer - July 2012 - 18
American Cinematographer - July 2012 - 19
American Cinematographer - July 2012 - 20
American Cinematographer - July 2012 - 21
American Cinematographer - July 2012 - 22
American Cinematographer - July 2012 - 23
American Cinematographer - July 2012 - 24
American Cinematographer - July 2012 - 25
American Cinematographer - July 2012 - 26
American Cinematographer - July 2012 - 27
American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
American Cinematographer - July 2012 - 31
American Cinematographer - July 2012 - 32
American Cinematographer - July 2012 - 33
American Cinematographer - July 2012 - 34
American Cinematographer - July 2012 - 35
American Cinematographer - July 2012 - 36
American Cinematographer - July 2012 - 37
American Cinematographer - July 2012 - 38
American Cinematographer - July 2012 - 39
American Cinematographer - July 2012 - 40
American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
American Cinematographer - July 2012 - 43
American Cinematographer - July 2012 - 44
American Cinematographer - July 2012 - 45
American Cinematographer - July 2012 - 46
American Cinematographer - July 2012 - 47
American Cinematographer - July 2012 - 48
American Cinematographer - July 2012 - 49
American Cinematographer - July 2012 - 50
American Cinematographer - July 2012 - 51
American Cinematographer - July 2012 - 52
American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
American Cinematographer - July 2012 - 55
American Cinematographer - July 2012 - 56
American Cinematographer - July 2012 - 57
American Cinematographer - July 2012 - 58
American Cinematographer - July 2012 - 59
American Cinematographer - July 2012 - 60
American Cinematographer - July 2012 - 61
American Cinematographer - July 2012 - 62
American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
American Cinematographer - July 2012 - 65
American Cinematographer - July 2012 - 66
American Cinematographer - July 2012 - 67
American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
American Cinematographer - July 2012 - 73
American Cinematographer - July 2012 - 74
American Cinematographer - July 2012 - 75
American Cinematographer - July 2012 - 76
American Cinematographer - July 2012 - 77
American Cinematographer - July 2012 - 78
American Cinematographer - July 2012 - 79
American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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