American Cinematographer - August 2016 - 20

Top: Nuttgens frames a high-angle shot with the production's Arri Alexa XT Studio camera.
Bottom: The cinematographer mans the wheels of an Alpha Stabilized remote head that's been
rigged to a motorcycle's sidecar in order to capture some fast-paced car work.

Nuttgens: One of our intentions
for creating this feeling of heat had been to
keep the image slightly overexposed, with
the blacks slightly light, so we initially timed
it that way. David came in and we went
through it together, and he wanted a little
more aggression out of the images to
match what was going on with the boys. So
we increased the saturation and contrast
slightly, took mid-tones down, and
accepted that our top end was going to
blow out a little bit. Sometimes that's the
trick - to let the whites just tip over the
edge.
Did you shoot with multiple
cameras?
Nuttgens: David wanted a
thoughtful approach to the way the camera
20

August 2016

developed, and you can only really achieve
that if you concentrate on one camera. So it
was a mainly single-camera shoot, with the
exception of the big shootout - that was
basically a two-camera shoot for four days.
David and I work in a space where
the camera often sees 360 degrees. We'd
spend the time to get a long, developing
movement with dolly or Steadicam, with
the intention of using it as a single shot, but
then I would put the camera on my shoulder to get coverage in case he would need
it to pace the film in the edit.
We only had Chris for 10 days, and
we had all of the banks to rob in the first
week. David and I knew that in order to give
us the time to do those long shots and
experiment in the way we wanted, we
American Cinematographer

needed to set off at pace. So David banned
video village. He then went even further
and said no chairs, no iPhones, no clapper
boards. Everything's brought down to a
point where anything that's happening on
the set is for a very specific reason, and we
can just turn around and nobody's saying,
'I've got to move video village' or 'I'm just
marking up the board.' You start working at
a real speed, and you end up with more
flexibility and more material at the end of
the day.
The other great move from David
was on our fifth day, in the evening, when
he showed edited material, which included
four bank robberies and an escape
sequence in a car. And so the whole crew,
who probably thought we were out of our
minds, suddenly saw 25 minutes of cut
action sequences and were like, 'Hold on
now, how did that happen?' And then
everybody was with us.
How did you approach the
movie's day interiors?
Nuttgens: I ended up trying a
certain amount of hard lighting. There was
a scene early in the schedule with Chris and
Ben in a diner; Ben goes off and robs a bank
that's visible outside the diner's windows.
Because of the way the scene was
constructed, I had to light them across the
depth of the restaurant, from the parking
lot. We weren't carrying many big heads,
but we had two Arri M90s. So we put up a
12-by-20 Grid Cloth, and [gaffer] Jeremy
Oliver took out every single HMI we had -
and even some tungsten - and pushed
them through there. But I still couldn't
balance the interior with the exterior,
despite NDs on the windows.
So I hit Chris with a direct light -
an M90 with a bit of Half CTS on it. Obviously it was backed up by a lot of soft light
behind it, which softened the effect of the
hard light, but Chris' face took it really well.
And suddenly he and Ben were in a very
high-contrast situation, sort of highlighted
among the rest of the scene. That pleased
me enormously. It wasn't really my original
intention, but the important thing is to be
able to recognize that it can work with an
actor's face. So - with the exception of the
Texas Rangers' office, which is Kino Flo-lit -
almost every other scene I used hard light.
The car work in the movie is



American Cinematographer - August 2016

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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