American Cinematographer - August 2016 - 62

◗

Body Language

Right and bottom,
left: For a nightexterior scene in
which Hank and
Manny are
attacked by a bear,
the production
employed three
Condors, each
fitted with a
theatrical movinglight rig and a
wireless DMX
receiver. The fire
pie and two
custom-made LED
light pads provided
illumination as
well. Bottom, right:
A crew member
works on a
Condor rig.

circle - like a pie - and we put [24]
MR16 [100-watt] bulbs in there, and
covered it with chicken wire with diffusion and red and yellow gels. It has a kind
of violent flicker effect to it, but because
there are so many sources, it's also soft."
Seiple notes that an Arri Alexa
Mini was used for pickup shots, including
a flashback sequence of Hank on the
bus, and that a Sony PMW EX3 was
used for a news-footage sequence and the
movie's final shots of Manny in the ocean.
When the duo suffer a perilous fall
into a river, Manny reveals his ability to
serve as an air tank, which obliged the
filmmakers to shoot an underwater
sequence in an outdoor pool about an
hour north of Los Angeles. A flyswatter
62

August 2016

was mounted on a Condor over the
water, and M90s on stands were aimed
toward the submerged actors.
"We had to make it feel like a
riverbed," says Seiple, "but we couldn't
get the pool dirty because it would have
required a massive cleaning fee. Instead,
we layered it with black tarp [and added
bits of plant material]." Underwater
operator Ian Takahashi employed an
Alexa XT and 25mm Cooke S4 lens
encased in a HydroFlex housing for the
sequence.
In a comically stirring segue back
to dry land, Manny launches himself and
Hank above the water's surface in a series
of slow-motion shots, which were
captured at the same swimming pool
American Cinematographer

with a Phantom Flex4K - fitted with a
Cooke S4 25mm lens - recording
Phantom .cine raw files to CineMags at
2,000 fps and 2040x1152 resolution.
Two stunt doubles on a wire rig were
pulled upward at speed against a greenscreen and beneath lighting designed to
match a plate that was shot with a Red
Epic Dragon in Eureka, Calif., during
initial location scouting. Contending
with bright daylight at the pool, the
production employed a 20'x20' Full Grid
Cloth on a flyswatter over the water, and
aimed two M90s diffused through an
8'x8' 1⁄4 Grid Cloth from just off
camera, "to give it a little bit of glare,"
Seiple notes.
Following this initial burst from



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
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American Cinematographer - August 2016 - 70
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American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
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American Cinematographer - August 2016 - 78
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American Cinematographer - August 2016 - 81
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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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