American Cinematographer - August 2016 - 55

thing was backlit - and if the sun went
away, it wasn't the end of the world. We
tried to add negative fill when we could, or
an eye light for crucial moments, but the
pace was so breakneck that we tended to
embrace the locations we chose. The
movie was shot almost entirely with
natural light."
"I did not appreciate enough, until
we started shooting, just how important
scheduling weather would be," Scheinert
notes with a laugh, "but Larkin did. He
worked with our first AD [ Jesse Fleece]
intensely, scheduling and rescheduling
each day - because he knew that his
main light source was out of his control
- and that paid off a lot."
With inherently variable light from
scene to scene and even shot to shot,
Company 3 colorist Sofie Friis Borup's
assistance in post was another essential
element in maintaining lighting continuity. Borup offers, "When the sun hits a
face and in the next shot the face is in
shadow, we had to bring the shadow up a
bit and the sun spot down, and make it as
consistent as possible."
"Sofie is an amazing colorist,"
Seiple enthuses. "We spent ages coloring
this movie because of all the visual effects
that had to be dropped into it. We colored
three times [at Company 3's New York
facility], and then she flew out to L.A.
twice. It was this hopscotch of a coloring
session that [proceeded periodically] over
the course of a month."
Day exteriors were captured at
1,600 ISO to provide latitude in the highlights. In that way, Seiple explains, "you
have 8 stops above exposure and 5 stops
below, which helped us out a lot. For the
night work, we went back to 800 [ISO], as
I tend to expose night scenes quite dark
but wanted the latitude to print up, which
we did end up doing. I could [expose
normally] but know that I still had information there for the worst-case scenario."
For the bulk of the predominantly
single-camera shoot, Seiple served as
operator on dolly, slider, jib and handheld
work, with Dana Morris traveling in to
operate Steadicam when required. The
production's preferred dolly was the J.L.
Fisher Model 11, as it was small enough to

Top: Hank and Manny share one of many candid moments, in this case aboard their makeshift
commuter bus, which the production's art department built primarily with objects found in the
forest. Middle: Scheinert offers direction to Dano for a scene aboard Hank and Manny's sprucedup discarded golf cart. Bottom: Kwan, Seiple, Scheinert and 1st AC Matt Sanderson (peeking
from behind) have some fun on set.

www.theasc.com

August 2016

55



http://www.theasc.com

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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