American Cinematographer - July 2017 - 35

Left: Gadot marches
toward camera
through the noman's-land set.
Below: The crew
keeps pace with
Gadot for a
Steadicam shot.

sequence in which Diana swims out to
save Steve, was shot in a tank at Warner
Bros. Studios. Underwater cinematographer Mark Silk shot with Arri's Alexa
SXT, with Aaron Keating serving as
underwater chief lighting technician.
Using the Alexa in this case,
Jensen says, "was pragmatic. You don't
want to be changing film mags with
your talent underwater, holding their
breath. Digital speeds along the process.
The Alexa stuff is beautiful and cuts
well with the film footage. You'd be
hard-pressed to figure out which shots
we did with the Alexa cameras."
The cinematographer paired
cameras with Panavision Primo Prime
lenses. Jenkins, who came up through
the camera department, preferred wide
lenses and tight compositions. The crew
stayed mostly in the 21mm-65mm
range, with much of the movie shot on
a 27mm and a 40mm.
"She insisted on 'center-punching' the action, even though we were
shooting in 2.39," Jensen notes. "There's
something very 'comic book' about that
kind of frame; you walk immediately
into the character and the action
because you know where it's going.
There weren't any arty frames placing

people on the sides."
Jenkins explains, "I like symmetry. Stanley Kubrick and others influenced that. It's got a great pop
grandiosity and leads your story. And I
love the wide lens because I like to see
the whole world. Using all long lenses
often makes you feel like a distant
observer, and in this case it was important to be with Wonder Woman - to
be her - which made a wide lens
useful."
The filmmakers occasionally
www.theasc.com

went long with Panavision's SLZ11 24275mm Primo 11:1 Zoom (T2.8),
shooting at 250mm for extreme closeups of Wonder Woman's eyes, or for
details on her hands and boots as she
emerges from the trenches.
The crew mostly ran two
cameras, and sometimes only one. For
the beach battle, main and second units
each had three cameras shooting film.
Ben Wilson operated A camera and
Steadicam - the latter of which was
often employed for frontal shots of
July 2017

35



http://www.theasc.com

American Cinematographer - July 2017

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

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
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