American Cinematographer - August 2016 - 26

it out in studio mode with PL glass."
The cinematographer generally
rated the Dragon between 500 ISO for
daylight and 800 for night, but for low-light
shooting he would go as high as 2,000 in
some scenes. One of his favorite features on
the camera is its interchangeable optical lowpass filter system. For any night scene, Reis
would mount the Low Light Optimized OLPF,
which would increase the camera's sensitivity
by about a stop. For day exteriors or shooting
inside Mazur's home, Reis would use the
Skin Tone-Highlight OLPF, which would give
him more latitude in the highlights. In addition to the Dragons, Blackmagic 4K Cinema
Cameras were used for crash cams.
Approximately 40 percent of the
movie was shot with Zeiss Compact Prime
CP.2 lenses, which are rehoused Zeiss still
lenses and are significantly less expensive
than typical cine primes. The production
used the 15mm, 21mm, 28mm, 35mm,
50mm, 85mm, 100mm and 135mm CP.2
focal lengths. "I've used the CPs on
hundreds of videos," says Reis. "They have a
beautiful bokeh, and they pulled back the
crispness of the 6K image while maintaining
decent contrast. It may have [seemed] risky
to use prosumer primes for such a film, but
artistically it was the right thing to do. They
were really appropriate for a 1980s period
film that was being acquired with a digital
camera. Sometimes sharper and more
expensive glass isn't always better. We also
employed a Lensbaby Composer Pro PL as a
means to really push the visuals of some
abstract scenes."
For the Mangione scenes, the cinematographer employed five Zeiss Compact
Zoom CZ.2 lenses: one 15-30mm, two 2880mm and two 70-200mm zooms (all T2.9).
"The great thing about these lenses is that
they really match the CP.2s, and they are
extremely lightweight, sharp, provide excellent contrast and offer minimal breathing,"
Reis enthuses. "They're also relatively affordable."
To lend a more "vintage and classiccinema" scale to the highly stylized Musella
scenes, Reis went with Vantage Film Hawk
V-Lite anamorphics. He also tested Arri/Zeiss
Master Anamorphics, but he preferred the
Hawks' flare quality and felt the Master
Anamorphics looked "too perfect and pristine," he says. Lastly, for run-and-gun setups,

Top:
Cinematographer
Joshua Reis (left)
lines up a shot
inside Mazur's
office. Middle:
Director Brad
Furman (left)
guides a scene
with actor Yul
Vazquez
(wearing white).
Bottom: Reis and
Furman grab an
angle from
behind Cranston.

26

August 2016

American Cinematographer



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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