American Cinematographer - August 2013 - 33

Unit photography by Peter Mountain. Frame grabs and photos courtesy of Walt Disney Pictures.

when more would become available.
That camera enabled us to shoot night
exteriors in anamorphic with minimal
lighting. We wanted to see the depth of
the prairie at night in a faint pictorial
way, and when our prep was brought to
a halt, we were weighing whether to
shoot spherical instead of anamorphic
so we could go digital for night, or shoot
anamorphic and use high-speed negative and a lot of lights for night — what
we Europeans call ‘American night’
[laughs]. Either that, or we could be
more selective and do smaller shots.
When the movie got postponed,
we were thinking we’d go with film and
do our best, but we let Arri know we
were very interested in testing the new
Alexa, and when our prep started to gear
up again, in November, Arri sent a
prototype to L.A. I spent three days
testing it side-by-side with Kodak
[Vision3 50D] 5203 rated at 25 ISO,
which is how I planned to shoot our day
exteriors. Capturing in ArriRaw, I tested
every possible scenario, using 800 ISO
for night scenes and 500 ISO for day

Opposite: The hero and his trusty steed strike an iconic pose. This page: Frame grabs of Tonto (Johnny
Depp), the villainous Cavendish (William Fichtner) and the Lone Ranger (Armie Hammer) illustrate the
day-exterior approach: framing characters in backlight whenever possible.

interiors, and the results looked fantastic. The 4:3 chip integrated with
Panavision’s C Series anamorphic lenses
created a look we just loved, and the
rotating-mirror shutter gave the image
a very film-like feel. We knew we’d be
cutting from interiors to exteriors and
night scenes to day scenes, and we didn’t
see any noticeable jump in image quality when we cut from 5203 to Alexa; it
was like cutting from a low-speed finegrain film stock to an 800-ISO superfine-grain film stock. That’s what really
www.theasc.com

sold us. We decided the Alexa would be
best not only for all our night scenes,
but also for interiors. Then the question
became, how many could we get, and
when? For production to make a decision based on ‘maybe’ was tough, but
Disney, [executive producer] Jerry
Bruckheimer and Arri pushed to make
it happen, and we were able to get four
Alexas in addition to our seven
Panavision film cameras. Carrying both
systems was more expensive, but
Panavision gave us a deal on the whole
August 2013

33


http://www.theasc.com

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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