American Cinematographer - August 2016 - 58

◗

Body Language

Right: Hank and
Manny take a selfie
together while on an
imaginary vacation.
Bottom: Seiple
captures the moment
with an Arri Alexa XT.

Bronson Canyon, at the same rock
tunnel from which the Batmobile
emerged on the 1960s Batman show.)
The cinematographer explains that he
obscured the discordantly arid Southern
California exterior that appeared
through the cave's entrance by utilizing a
"blown-out look" for day interiors, and
supplemented bounced sunlight with an
Arri M90 and two 800-watt Jo-Lekos.
Realizing that Manny's powers
are enhanced when he experiences hope
for a romantic relationship of his own,
Hank sets out to help him visualize what
58

August 2016

it might be like to court the woman
of his dreams. To set the scene, Hank
gathers up tree branches, vegetation and
assorted garbage from the surrounding
woods to build a mock-up of a
commuter bus - a contrivance crafted
by Daniels' longtime production
designer, Jason Kisvarday, and his team,
primarily from items found on location
in a private forest outside of San
Francisco.
"We tried to keep consistent light
for the bus sequence," Seiple says, "so we
shot the majority of it in the morning,
American Cinematographer

with sun coming in from the left, and
supplementing that with an M90. Our
gaffer, Matt Ardine, built his own 2-by4-foot light units - we called them
'Matty Pads' - which are small light
boxes with LiteGear Hybrid VHO
LED LiteRibbon inside that can do
tungsten or daylight, with a layer of 1⁄4
Grid Cloth and an Image 80 egg crate.
They used a Kino backing [plate], and
we could fly them around and instantly
dim them up or down without color
change."
For the "magical moments" on the
bus, as Seiple describes, "we switched to
these really funky old JDC [Cooke] Xtal
Express 35mm, 85mm and 100mm
lenses." Kwan relates, "The bokeh was all
[distorted] on the edges; it felt a lot more
alive and organic. I think that was something we wanted to really push forward
with this film - to make a lot of the
imagery and sound design evoke very
primal and human physical feelings,
almost evoking sense memory."
"I prefer to use older glass as
opposed to a filter," Seiple adds, "because
there's much more of an innate, otherworldly feel to it. There was a real glow."
The dreamlike imagery on the bus
began with a slow, dramatic, sliderenabled pull-out on Dano, who 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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