American Cinematographer - August 2014 - 47

been, 'Protect the blacks at all costs,'"
says gaffer Ross Dunkerley. "In the
photochemical world, this is usually
achieved by creating a fat negative. Due
to the fact that digital sensors aren't as
forgiving in the [highlights], we had to
fight our decades-long habit of overexposing by two-thirds of a stop. This is
also Clint's first film in a long time in
which color is a major character.
Having done a number of films in
which we all but eliminated color, we
embraced the opposite end of the spectrum on this picture."
The production shot a large
swath of the performance material in
various Los Angeles venues - including the Dorothy Chandler Pavilion and
the Orpheum and Belasco theaters -
over the course of just a few weeks.
During preproduction, Dunkerley
collaborated with the art department to
choose 15 gel colors that could be used
on the lights in different combinations
during the performance pieces
throughout the movie. "We would rig
[the sets] a day or two in advance, and
my rigging gaffer, Jason Fitzgerald,
would send me photos of how each
stage was taking shape," Dunkerley
explains. "Armed with this information,
I'd select a few gels from our palette that
seemed appropriate to the environment. This all happened lightning-fast
via text messages or emails, as we shot
in [different] venues in rapid succession."
Stern adds, "It was quite a bizarre
schedule at times, an interesting challenge." In many cases, the schedule
required the crew to make their lighting
decisions before they knew exactly how
the performances would be choreographed. The solution, Stern notes, was
to strategically "set stuff up all over"
each of the venues. "Fortunately, I
started my checkered career doing
music films [as a gaffer] in the 1970s,
and I had a lot of experience lighting for
a number of groups. It was all fairly
straightforward back then - lots of Par
lights!
"We turned the Dorothy
Chandler Pavilion into the Roostertail

Top: A camera is
rigged to the
front of a car for
a robbery scene.
Middle and
bottom:
Projections were
used for a driving
sequence filmed
on a soundstage.

www.theasc.com

August 2014

47



http://www.theasc.com

American Cinematographer - August 2014

Table of Contents for the Digital Edition of American Cinematographer - August 2014

Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
American Cinematographer - August 2014 - 7
American Cinematographer - August 2014 - 8
American Cinematographer - August 2014 - 9
American Cinematographer - August 2014 - 10
American Cinematographer - August 2014 - 11
American Cinematographer - August 2014 - 12
American Cinematographer - August 2014 - 13
American Cinematographer - August 2014 - 14
American Cinematographer - August 2014 - 15
American Cinematographer - August 2014 - 16
American Cinematographer - August 2014 - 17
American Cinematographer - August 2014 - 18
American Cinematographer - August 2014 - 19
American Cinematographer - August 2014 - 20
American Cinematographer - August 2014 - 21
American Cinematographer - August 2014 - 22
American Cinematographer - August 2014 - 23
American Cinematographer - August 2014 - 24
American Cinematographer - August 2014 - 25
American Cinematographer - August 2014 - 26
American Cinematographer - August 2014 - 27
American Cinematographer - August 2014 - 28
American Cinematographer - August 2014 - 29
American Cinematographer - August 2014 - 30
American Cinematographer - August 2014 - 31
American Cinematographer - August 2014 - 32
American Cinematographer - August 2014 - 33
American Cinematographer - August 2014 - 34
American Cinematographer - August 2014 - 35
American Cinematographer - August 2014 - 36
American Cinematographer - August 2014 - 37
American Cinematographer - August 2014 - 38
American Cinematographer - August 2014 - 39
American Cinematographer - August 2014 - 40
American Cinematographer - August 2014 - 41
American Cinematographer - August 2014 - 42
American Cinematographer - August 2014 - 43
American Cinematographer - August 2014 - 44
American Cinematographer - August 2014 - 45
American Cinematographer - August 2014 - 46
American Cinematographer - August 2014 - 47
American Cinematographer - August 2014 - 48
American Cinematographer - August 2014 - 49
American Cinematographer - August 2014 - 50
American Cinematographer - August 2014 - 51
American Cinematographer - August 2014 - 52
American Cinematographer - August 2014 - 53
American Cinematographer - August 2014 - 54
American Cinematographer - August 2014 - 55
American Cinematographer - August 2014 - 56
American Cinematographer - August 2014 - 57
American Cinematographer - August 2014 - 58
American Cinematographer - August 2014 - 59
American Cinematographer - August 2014 - 60
American Cinematographer - August 2014 - 61
American Cinematographer - August 2014 - 62
American Cinematographer - August 2014 - 63
American Cinematographer - August 2014 - 64
American Cinematographer - August 2014 - 65
American Cinematographer - August 2014 - 66
American Cinematographer - August 2014 - 67
American Cinematographer - August 2014 - 68
American Cinematographer - August 2014 - 69
American Cinematographer - August 2014 - 70
American Cinematographer - August 2014 - 71
American Cinematographer - August 2014 - 72
American Cinematographer - August 2014 - 73
American Cinematographer - August 2014 - 74
American Cinematographer - August 2014 - 75
American Cinematographer - August 2014 - 76
American Cinematographer - August 2014 - 77
American Cinematographer - August 2014 - 78
American Cinematographer - August 2014 - 79
American Cinematographer - August 2014 - 80
American Cinematographer - August 2014 - 81
American Cinematographer - August 2014 - 82
American Cinematographer - August 2014 - 83
American Cinematographer - August 2014 - 84
American Cinematographer - August 2014 - 85
American Cinematographer - August 2014 - 86
American Cinematographer - August 2014 - 87
American Cinematographer - August 2014 - 88
American Cinematographer - August 2014 - Cover3
American Cinematographer - August 2014 - Cover4
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