American Cinematographer - September 2016 - 46

◗

A Fierce Friendship

Right: Natalie and
Pete hatch a plan
after Gavin and his
crew capture Elliot.
Below: Grace is
heartbroken to see
Elliot in chains.

gorgeous. Wellington has a great
population of skilled craftsmen; the
crews are very good." The
cinematographer makes special mention
of his "whole camera crew, but especially
the focus pullers
- shooting
anamorphic, almost always wide open
- including Dean Morin on A camera
and George Hennah on B camera, and
great camera operators Cameron
McLean and Andrew McGeorge.
"The forest is one of the hardest
locations to shoot in," Bazelli continues.
46

September 2016

"The light through the trees changes
quickly; the contrast range is off the
scale. We looked for locations that gave
us the most interesting look in terms of
the density of trees and the quality of
light filtering through. We decided to
add ambient smoke and atmosphere in
the forest to create more depth -
because it had felt a little flat, and
introducing the ambience created a
whole new wonderful pictorial."
Bazelli chose Arri's Alexa XT
Studio - "with spinning-mirror
American Cinematographer

shutter," he emphasizes - shooting
3.2K ArriRaw to internal Codex XR
Capture Drives, and employing the
camera's 4:3 Open Gate full-sensor
option for its added sensor height,
which best suited their desired
anamorphic extraction area of
2626x2198 photosites (21.66mm x
18.13mm). The cinematographer flirted
with the idea of using the Alexa 65 for
the forest sequences, but at the time of
production there were still too few
models in existence for Bazelli to be
confident of the camera's availability.
The filmmakers elected to shoot
anamorphic with Cooke Anamorphic/i
and Arri/Zeiss Master Anamorphic
primes. "We decided to go with
anamorphic on this movie to accentuate
the landscape and add more visual
interest," Bazelli offers. "We received one
of the first sets of the new Cooke
anamorphics and combined them with
Arri Masters. We carried two sets of
each on the entire show. Although the
two lens systems are very different, they
actually worked well together. The
Cookes very much have that 'Cooke
look,' where they have a soft spot around
the center of the image; it is more of a
portrait lens. That was beautiful, but



American Cinematographer - September 2016

Table of Contents for the Digital Edition of American Cinematographer - September 2016

Contents
American Cinematographer - September 2016 - Intro
American Cinematographer - September 2016 - Cover1
American Cinematographer - September 2016 - Cover2
American Cinematographer - September 2016 - 1
American Cinematographer - September 2016 - 2
American Cinematographer - September 2016 - Contents
American Cinematographer - September 2016 - 4
American Cinematographer - September 2016 - 5
American Cinematographer - September 2016 - 6
American Cinematographer - September 2016 - 7
American Cinematographer - September 2016 - 8
American Cinematographer - September 2016 - 9
American Cinematographer - September 2016 - 10
American Cinematographer - September 2016 - 11
American Cinematographer - September 2016 - 12
American Cinematographer - September 2016 - 13
American Cinematographer - September 2016 - 14
American Cinematographer - September 2016 - 15
American Cinematographer - September 2016 - 16
American Cinematographer - September 2016 - 17
American Cinematographer - September 2016 - 18
American Cinematographer - September 2016 - 19
American Cinematographer - September 2016 - 20
American Cinematographer - September 2016 - 21
American Cinematographer - September 2016 - 22
American Cinematographer - September 2016 - 23
American Cinematographer - September 2016 - 24
American Cinematographer - September 2016 - 25
American Cinematographer - September 2016 - 26
American Cinematographer - September 2016 - 27
American Cinematographer - September 2016 - 28
American Cinematographer - September 2016 - 29
American Cinematographer - September 2016 - 30
American Cinematographer - September 2016 - 31
American Cinematographer - September 2016 - 32
American Cinematographer - September 2016 - 33
American Cinematographer - September 2016 - 34
American Cinematographer - September 2016 - 35
American Cinematographer - September 2016 - 36
American Cinematographer - September 2016 - 37
American Cinematographer - September 2016 - 38
American Cinematographer - September 2016 - 39
American Cinematographer - September 2016 - 40
American Cinematographer - September 2016 - 41
American Cinematographer - September 2016 - 42
American Cinematographer - September 2016 - 43
American Cinematographer - September 2016 - 44
American Cinematographer - September 2016 - 45
American Cinematographer - September 2016 - 46
American Cinematographer - September 2016 - 47
American Cinematographer - September 2016 - 48
American Cinematographer - September 2016 - 49
American Cinematographer - September 2016 - 50
American Cinematographer - September 2016 - 51
American Cinematographer - September 2016 - 52
American Cinematographer - September 2016 - 53
American Cinematographer - September 2016 - 54
American Cinematographer - September 2016 - 55
American Cinematographer - September 2016 - 56
American Cinematographer - September 2016 - 57
American Cinematographer - September 2016 - 58
American Cinematographer - September 2016 - 59
American Cinematographer - September 2016 - 60
American Cinematographer - September 2016 - 61
American Cinematographer - September 2016 - 62
American Cinematographer - September 2016 - 63
American Cinematographer - September 2016 - 64
American Cinematographer - September 2016 - 65
American Cinematographer - September 2016 - 66
American Cinematographer - September 2016 - 67
American Cinematographer - September 2016 - 68
American Cinematographer - September 2016 - 69
American Cinematographer - September 2016 - 70
American Cinematographer - September 2016 - 71
American Cinematographer - September 2016 - 72
American Cinematographer - September 2016 - 73
American Cinematographer - September 2016 - 74
American Cinematographer - September 2016 - 75
American Cinematographer - September 2016 - 76
American Cinematographer - September 2016 - 77
American Cinematographer - September 2016 - 78
American Cinematographer - September 2016 - 79
American Cinematographer - September 2016 - 80
American Cinematographer - September 2016 - 81
American Cinematographer - September 2016 - 82
American Cinematographer - September 2016 - 83
American Cinematographer - September 2016 - 84
American Cinematographer - September 2016 - 85
American Cinematographer - September 2016 - 86
American Cinematographer - September 2016 - 87
American Cinematographer - September 2016 - 88
American Cinematographer - September 2016 - 89
American Cinematographer - September 2016 - 90
American Cinematographer - September 2016 - 91
American Cinematographer - September 2016 - 92
American Cinematographer - September 2016 - 93
American Cinematographer - September 2016 - 94
American Cinematographer - September 2016 - 95
American Cinematographer - September 2016 - 96
American Cinematographer - September 2016 - 97
American Cinematographer - September 2016 - 98
American Cinematographer - September 2016 - 99
American Cinematographer - September 2016 - 100
American Cinematographer - September 2016 - 101
American Cinematographer - September 2016 - 102
American Cinematographer - September 2016 - 103
American Cinematographer - September 2016 - 104
American Cinematographer - September 2016 - 105
American Cinematographer - September 2016 - 106
American Cinematographer - September 2016 - 107
American Cinematographer - September 2016 - 108
American Cinematographer - September 2016 - 109
American Cinematographer - September 2016 - 110
American Cinematographer - September 2016 - 111
American Cinematographer - September 2016 - 112
American Cinematographer - September 2016 - Cover3
American Cinematographer - September 2016 - Cover4
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