American Cinematographer - September 2015 - 58

◗

Superspy Alliance

Top: Agent Solo meets with Gaby Teller (Alicia Vikander), another member of the U.N.C.L.E. task
force, at an auto-body shop.

replied, 'Let's shoot on film.' We nearly
went back." While that option ultimately went unexercised, Mathieson is
keen to separate the art and science of
photography from the equipment. "My
guys like the Alexa," he says. "They say
the sensor's prettier, but I [just] ask them
what they want to shoot on. I don't care.
I really don't."
Mathieson has earned the
veteran's right to vent, with a list of credits that includes Gladiator (AC May '00),
Hannibal (AC Feb. '01), Kingdom of
Heaven (AC June '05), X-Men: First
58

September 2015

Class and 47 Ronin. The Man From
U.N.C.L.E. marks his first collaboration
with Ritchie, and at the time of this
writing, the two are teamed up again for
Knights of the Roundtable: King Arthur.
Asked to detail any visual references he and Ritchie consulted for
U.N.C.L.E., Mathieson offers, "Guy
doesn't really do that stuff. I looked at
some old Harry Palmer films; they were
a bit too hard, to be honest. Things like
The Ipcress File and Billion Dollar Brain
were quite close to [the look we were
after], along with [the comic book]
American Cinematographer

Modesty Blaise and even Barbarella -
that feeling of opulence and color." He
cites the bright, pop-art aesthetic of The
Man From U.N.C.L.E. as one reason
that digital acquisition worked for the
film, and expresses considerable enthusiasm on this point: "It's up, it's bright, it's
of that time, it's Lichtenstein, it's
Warhol, Kennedy - men in very tonic
blue suits and Sixties colors. Very rich,
bold, Mary Quant-type dresses, girls
with over-made-up eyes and big lips and
dark hair and big plastic earrings. I
thought, if I were shooting a Sherlock
Holmes for Guy, I'd say, 'Oh, no. Shoot on
film.' But this felt quite comic-strippy."
Lenses were chosen for a period
feel, and Mathieson credits digital origination with the flexibility to combine
types. "We love anamorphic lenses," he
states. "They give you depth. We're
trying to tip our hat toward the [style] of
the time, the old 'Scope look." However,
he is the first to admit that this is not a
new approach: "Everyone probably says
that. People use 'Scope lenses because
they mess up the sharpness of digital.
Talk to Panavision; they'll say 'Scope
lenses are out [being used] on everything.
"We wanted the telephoto,
'zoomy' Sixties feel, so we got out the old
Cookes," Mathieson continues. "I used
some very old ones, like an old Cooke
conversion of the 10:1 which opens to a
2.5. It's really 2.8, but it's a very fast lens



American Cinematographer - September 2015

Table of Contents for the Digital Edition of American Cinematographer - September 2015

Contents
American Cinematographer - September 2015 - Intro
American Cinematographer - September 2015 - Cover1
American Cinematographer - September 2015 - Cover2
American Cinematographer - September 2015 - 1
American Cinematographer - September 2015 - 2
American Cinematographer - September 2015 - Contents
American Cinematographer - September 2015 - 4
American Cinematographer - September 2015 - 5
American Cinematographer - September 2015 - 6
American Cinematographer - September 2015 - 7
American Cinematographer - September 2015 - 8
American Cinematographer - September 2015 - 9
American Cinematographer - September 2015 - 10
American Cinematographer - September 2015 - 11
American Cinematographer - September 2015 - 12
American Cinematographer - September 2015 - 13
American Cinematographer - September 2015 - 14
American Cinematographer - September 2015 - 15
American Cinematographer - September 2015 - 16
American Cinematographer - September 2015 - 17
American Cinematographer - September 2015 - 18
American Cinematographer - September 2015 - 19
American Cinematographer - September 2015 - 20
American Cinematographer - September 2015 - 21
American Cinematographer - September 2015 - 22
American Cinematographer - September 2015 - 23
American Cinematographer - September 2015 - 24
American Cinematographer - September 2015 - 25
American Cinematographer - September 2015 - 26
American Cinematographer - September 2015 - 27
American Cinematographer - September 2015 - 28
American Cinematographer - September 2015 - 29
American Cinematographer - September 2015 - 30
American Cinematographer - September 2015 - 31
American Cinematographer - September 2015 - 32
American Cinematographer - September 2015 - 33
American Cinematographer - September 2015 - 34
American Cinematographer - September 2015 - 35
American Cinematographer - September 2015 - 36
American Cinematographer - September 2015 - 37
American Cinematographer - September 2015 - 38
American Cinematographer - September 2015 - 39
American Cinematographer - September 2015 - 40
American Cinematographer - September 2015 - 41
American Cinematographer - September 2015 - 42
American Cinematographer - September 2015 - 43
American Cinematographer - September 2015 - 44
American Cinematographer - September 2015 - 45
American Cinematographer - September 2015 - 46
American Cinematographer - September 2015 - 47
American Cinematographer - September 2015 - 48
American Cinematographer - September 2015 - 49
American Cinematographer - September 2015 - 50
American Cinematographer - September 2015 - 51
American Cinematographer - September 2015 - 52
American Cinematographer - September 2015 - 53
American Cinematographer - September 2015 - 54
American Cinematographer - September 2015 - 55
American Cinematographer - September 2015 - 56
American Cinematographer - September 2015 - 57
American Cinematographer - September 2015 - 58
American Cinematographer - September 2015 - 59
American Cinematographer - September 2015 - 60
American Cinematographer - September 2015 - 61
American Cinematographer - September 2015 - 62
American Cinematographer - September 2015 - 63
American Cinematographer - September 2015 - 64
American Cinematographer - September 2015 - 64a
American Cinematographer - September 2015 - 64b
American Cinematographer - September 2015 - 64c
American Cinematographer - September 2015 - 64d
American Cinematographer - September 2015 - 64e
American Cinematographer - September 2015 - 64f
American Cinematographer - September 2015 - 64g
American Cinematographer - September 2015 - 64h
American Cinematographer - September 2015 - 65
American Cinematographer - September 2015 - 66
American Cinematographer - September 2015 - 67
American Cinematographer - September 2015 - 68
American Cinematographer - September 2015 - 69
American Cinematographer - September 2015 - 70
American Cinematographer - September 2015 - 71
American Cinematographer - September 2015 - 72
American Cinematographer - September 2015 - 73
American Cinematographer - September 2015 - 74
American Cinematographer - September 2015 - 75
American Cinematographer - September 2015 - 76
American Cinematographer - September 2015 - 77
American Cinematographer - September 2015 - 78
American Cinematographer - September 2015 - 79
American Cinematographer - September 2015 - 80
American Cinematographer - September 2015 - 81
American Cinematographer - September 2015 - 82
American Cinematographer - September 2015 - 83
American Cinematographer - September 2015 - 84
American Cinematographer - September 2015 - 85
American Cinematographer - September 2015 - 86
American Cinematographer - September 2015 - 87
American Cinematographer - September 2015 - 88
American Cinematographer - September 2015 - 89
American Cinematographer - September 2015 - 90
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American Cinematographer - September 2015 - 100
American Cinematographer - September 2015 - 101
American Cinematographer - September 2015 - 102
American Cinematographer - September 2015 - 103
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American Cinematographer - September 2015 - 120
American Cinematographer - September 2015 - Cover3
American Cinematographer - September 2015 - Cover4
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