American Cinematographer - September 2013 - 40
◗
Worlds Apart
Top: The
filmmakers
capture Wagner
Moura (seated) at
a monitor station
back on Earth.
Bottom: The
production filmed
earthbound
exteriors on
location in
Mexico City.
telling, I’m really drawn to that anamorphic look,” he says. “It’s the glass, the
optics. It is such a subtle effect in the
out-of-focus highlights or the shift in
focusing.
“My approach to filmmaking is to
drop a viewer into the middle of an
environment and try to convey what
that feels like,” he continues. “It’s not a
perfect look that feels coordinated or
presentational. On this film, it came
40
September 2013
down to a strong handheld feel on
Earth, a very active, dynamic camera
using C Series lenses for their oldschool contrast and flare characteristics;
and more controlled camerawork,
including Steadicam and Technocrane,
on Elysium, which we shot entirely
with the E Series for the higher contrast
and better blacks.”
Opaloch did resort to spherical
lenses at times, mainly when dropping
American Cinematographer
the Epic to 2K resolution, which was
necessary for the highest frame rates,
and for aerial photography and plate
work shot in 4K. At that time, the
maximum frame rate for 5K capture
was 96 fps; therefore, any shot filmed
below that frame rate was through an
anamorphic lens, and any shot above,
up to 300 fps, was through a spherical
Primo prime. “We used spherical
Panavision Primo 11:1 and 3:1 zooms
and Nikkor 200mm and 300mm lenses
for long-lens work because their rearanamorphic equivalents did not deliver
the sharpness and resolution required by
digital capture,” Opaloch adds. For aerials, he adjusted the camera pixel count
to the largest possible before lens
vignetting appeared.
Opaloch’s crew included his
regular commercial team, key grip Finn
King and gaffer Chris Rumak. “On
commercials you are thrown different
challenges every day, whereas on a
feature you can be on a set for days or
weeks at a time at a more relaxed pace,”
notes Opaloch. “We had a great time,
and Chris and Finn just knocked it out
of the park.” Additional crew included
A-camera/Steadicam operator Dean
American Cinematographer - September 2013
Table of Contents for the Digital Edition of American Cinematographer - September 2013
Contents
American Cinematographer - September 2013 - Cover1
American Cinematographer - September 2013 - Cover2
American Cinematographer - September 2013 - 1
American Cinematographer - September 2013 - 2
American Cinematographer - September 2013 - Contents
American Cinematographer - September 2013 - 4
American Cinematographer - September 2013 - 5
American Cinematographer - September 2013 - 6
American Cinematographer - September 2013 - 7
American Cinematographer - September 2013 - 8
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American Cinematographer - September 2013 - 11
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American Cinematographer - September 2013 - 21
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American Cinematographer - September 2013 - 26
American Cinematographer - September 2013 - 27
American Cinematographer - September 2013 - 28
American Cinematographer - September 2013 - 29
American Cinematographer - September 2013 - 30
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American Cinematographer - September 2013 - 38
American Cinematographer - September 2013 - 39
American Cinematographer - September 2013 - 40
American Cinematographer - September 2013 - K1
American Cinematographer - September 2013 - K2
American Cinematographer - September 2013 - K3
American Cinematographer - September 2013 - K4
American Cinematographer - September 2013 - K5
American Cinematographer - September 2013 - K6
American Cinematographer - September 2013 - K7
American Cinematographer - September 2013 - K8
American Cinematographer - September 2013 - K9
American Cinematographer - September 2013 - K10
American Cinematographer - September 2013 - K11
American Cinematographer - September 2013 - K12
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American Cinematographer - September 2013 - 42
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American Cinematographer - September 2013 - Cover3
American Cinematographer - September 2013 - Cover4
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