American Cinematographer - August 2013 - 35

times they were just a few millimeters
over 40mm. We actually shot many
scenes single camera. It’s tricky to use a
second camera with Gore because he
likes the actor’s eyeline to be very close
to the lens, so the other actor is right
next to the matte box.
More than half the movie
involves day exteriors, which have a
hot, contrasty look. How did you
achieve that?
Bazelli: We wanted to embrace
the raw brightness of the sun and the
sand, and strive for color that had the
washed-out feel of watercolors. The
basic idea was a bleach-bypass look, but
we wanted it to look raw and not grainy.
We decided early in prep that we would
not use artificial lighting on day exteriors unless we absolutely had to in order
to save the day. We used the sand as a
huge bounce, and we laid sheets of
unbleached muslin on the ground to
help fill faces under the cowboy hats. I
didn’t use any lens filtration because
rating 5203 at 25 ISO and pull processing it by 1 stop gave us a midday exposure of T5.6, perfect for anamorphic
lenses. I didn’t even use a meter; we just
used that stop all day, occasionally opening up half a stop when necessary. In
prep, we also worked with Deluxe and
Company 3 to create a LUT for the
dailies and the final grade that resembled a 30-percent bleach bypass. For the
first month of the shoot, we had Deluxe
print a few takes or outtakes and send
them to [dailies colorist] David Lee at
Company 3 for additional reference. We
didn’t use a [viewing] LUT on set.
A key aspect of our day-exterior
approach was keeping the camera
pointed south so the actors would stay
in backlight. That gave us light-blue
skies, not saturated ones; it heightened
the contrast between the hot sand and
the wardrobe, which was medium gray
or darker for almost everyone; and it
kept the actors’ faces in shadow, especially if they were wearing hats, which
most of them did. That really worked
for us. We’d start in the morning slightly
pointing east, and we’d follow the sun as
it moved across the sky so it was always

Top: The crew
preps a
MovieBird
crane for a
scene at the
tracks.
Bottom:
B-camera/
Steadicam
operator Dave
Luckenbach
puts an Arri
235 in low
mode to
capture some
backlit action.

in front of us. We passed up some beautiful locations because the terrain
wouldn’t accommodate that plan. For
day exteriors, it was critical to be in the
right place at the right time in order to
accomplish the full day of work and get
the look we wanted, and everyone in
production understood that. We made
an exception to our backlight approach
just once, for the scene in the Valley of
Tears. In that case, we embraced stark
frontal light because it suited the brutality of the scene.
Were you pleased with 5203’s
performance?
Bazelli: In my opinion, it’s the
best film stock ever made! If you
wanted to create an impossible scenario
for a cinematographer, then you would
include black, deep brown and white in
the frame, shade faces with hats, and
www.theasc.com

put bright blue sky and fluffy white
clouds in the background — and then
keep the actors in full, bright sun. That’s
the case whenever Tonto and the Lone
Ranger share the frame. Johnny wore a
large, black bird on top of his head, his
face was painted white, and to avoid
squinting he wore custom neutraldensity contact lenses that darkened his
eyes significantly. Next to him, sitting
on a pure-white horse, was Armie,
wearing a white hat, a black mask and a
black suit — and all those extremes were
heightened by the bright sun. 5203’s
range is unbelievable, especially at 25
ISO. There was no loss of detail at either
end of the curve. I think it has 16-18
usable stops, and almost double the
highlight range of [Vision2 50D] 5201.
Film is still so superior to digital for day
exteriors. Mechanically speaking, film
August 2013

35


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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