American Cinematographer - August 2013 - 34

◗

Big Guns

Top: A flashback
shot facilitated by
a Frazier Lens.
Middle: The Texas
Rangers await
Cavendish’s arrival.
Bottom: John Reid
(background,
wearing white
hat) joins his
brother, Dan
(James Badge
Dale, center), and
the Rangers on a
fateful expedition.

What made you choose anamorphic?

package that made it possible.
Did using digital make a big
difference in your lighting budget?
Bazelli: We shot night exteriors
at a T4, and it would have doubled our
lighting budget to duplicate the same
scenario on film. The Alexa also gave us
a faster shooting ratio. You might think
that on a big movie like this, you’d run
three or four cameras and do maybe five
setups a day, but it was not uncommon
for us to do 30 setups a day on interiors.
Gore knows what he wants, he likes to
34

August 2013

have a lot of options, he likes to get it all
quickly, and he prepares very thoroughly. Each morning, I’d get together
with [1st AD] Simon Warnock, [Acamera operator] Martin Schaer, [Acamera 1st AC] Trevor Loomis,
[B-camera/Steadicam operator] Dave
Luckenbach, [gaffer] Raffi Sanchez and
[key grip] Mike Popovich, and we’d
gather around the storyboard to plan
our day of shooting. On some days, we’d
have three or four 4-by-4 boards that
Gore had filled in with shots.
American Cinematographer

Bazelli: I suggested it when I
came aboard. I hadn’t used it since Body
Snatchers [1994] and was always looking
for a place to use it again, and Gore had
never used it. Using the full negative
gives you the best image possible, and
we also wanted to take advantage of
anamorphic lenses’ unique qualities,
particularly the flares. We chose the C
Series for their softer, more flare-y
image quality, and we added some G
Series when we had multiple-camera
setups for action scenes. Also, anamorphic just seemed the obvious choice for
all our iconic Western landscapes. We
wanted to emphasize strong, symmetrical compositions that made full use of
the 2.40 frame. In that respect, our main
inspiration was Sergio Leone’s Once
Upon a Time in the West, even though
that film was shot in Techniscope.
How does Gore like to get
coverage?
Bazelli: It’s usually a tighter
version of the same shot that’s achieved
by getting closer with the camera and
using the same lens or going one size up.
He doesn’t like the long-lens feel, the
blurry out-of-focus background. We did
most of our wide shots with a 40mm,
occasionally a 35mm; medium coverage
on a 50mm; and close-ups on a 50mm,
60mm or 75mm. We kept a Primo
[AWZ2 T2.8] 40-80mm zoom on the
crane so we could find the best focal
length for those shots quickly, and many



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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