American Cinematographer - October 2014 - 92
◗
Off the Beaten Path
The filmmakers elected to shoot anamorphic 35mm, with the cameras frequently supported
on dollies to provide long tracking shots.
terrain, almost as if she is tied to the
earth. As the journey progresses and her
face starts to resemble the landscape -
thanks to Zeljka Stanin's brilliant
special-effects makeup - we moved in
closer, detailing Robyn's struggle by
showing her badly sunburnt shoulders
and dust-caked feet in worn sandals
trudging across razor-sharp rocky
terrain. When she's disoriented and
isolated in an extremely hostile environment, we shot almost dreamlike, surreal
92
October 2014
images where there's no environment -
just hot, blank sky."
Two
Panavision
Panaflex
Millennium XL2s, most often on
Arrihead 2 geared heads, were used in
side-by-side configurations to cover the
exterior action, while the smattering of
interior scenes was deliberately kept to
single-camera shooting. The production's lens package included a set of
Panavision G Series anamorphic primes
ranging from 25mm to 100mm;
American Cinematographer
135mm and 180mm E Series primes;
70-200mm, 48-550mm and 270840mm Primo anamorphic zooms; and
a 45mm Macro.
Curran's desire for impressionistic
images created with extremely long
lenses led 1st AC Larry Nielsen and
ASC associate Dan Sasaki, Panavision's
vice president of optical engineering, to
a custom 2,800mm anamorphic lens.
"Dan and I had put that lens together
for Mauro Fiore [ASC] to use on The
Island [AC August '05]," says Nielsen.
"It was eventually taken apart to be cataloged and was supposed to be rebuilt to
be put back into the system. While
prepping for Tracks, Dan told me the
lens had resurfaced, albeit still in pieces.
He put it back together and it was as
beautiful as the first day I used it. It's an
800mm lens with two 2x extenders built
into the barrel. The extenders have been
shimmed for better image quality, and
that makes it 2,800mm rather than
3,200mm. It was re-barreled with new
witness marks and also rotated the
correct way for a focus puller."
The lens was used for a particularly impressionistic image that helps set
the tone for the film. "John wanted an
'evocatively watery, dreamlike' wide shot
of Robyn's mother moving away from
the camera in a heat haze," Walker
explains. "The 2,800mm achieved this
American Cinematographer - October 2014
Table of Contents for the Digital Edition of American Cinematographer - October 2014
Contents
American Cinematographer - October 2014 - Cover1
American Cinematographer - October 2014 - Cover2
American Cinematographer - October 2014 - 1
American Cinematographer - October 2014 - 2
American Cinematographer - October 2014 - Contents
American Cinematographer - October 2014 - 4
American Cinematographer - October 2014 - 5
American Cinematographer - October 2014 - 6
American Cinematographer - October 2014 - 7
American Cinematographer - October 2014 - 8
American Cinematographer - October 2014 - 9
American Cinematographer - October 2014 - 10
American Cinematographer - October 2014 - 11
American Cinematographer - October 2014 - 12
American Cinematographer - October 2014 - 13
American Cinematographer - October 2014 - 14
American Cinematographer - October 2014 - 15
American Cinematographer - October 2014 - 16
American Cinematographer - October 2014 - 17
American Cinematographer - October 2014 - 18
American Cinematographer - October 2014 - 19
American Cinematographer - October 2014 - 20
American Cinematographer - October 2014 - 21
American Cinematographer - October 2014 - 22
American Cinematographer - October 2014 - 23
American Cinematographer - October 2014 - 24
American Cinematographer - October 2014 - 25
American Cinematographer - October 2014 - 26
American Cinematographer - October 2014 - 27
American Cinematographer - October 2014 - 28
American Cinematographer - October 2014 - 29
American Cinematographer - October 2014 - 30
American Cinematographer - October 2014 - 31
American Cinematographer - October 2014 - 32
American Cinematographer - October 2014 - 33
American Cinematographer - October 2014 - 34
American Cinematographer - October 2014 - 35
American Cinematographer - October 2014 - 36
American Cinematographer - October 2014 - 37
American Cinematographer - October 2014 - 38
American Cinematographer - October 2014 - 39
American Cinematographer - October 2014 - 40
American Cinematographer - October 2014 - 41
American Cinematographer - October 2014 - 42
American Cinematographer - October 2014 - 43
American Cinematographer - October 2014 - 44
American Cinematographer - October 2014 - 45
American Cinematographer - October 2014 - 46
American Cinematographer - October 2014 - 47
American Cinematographer - October 2014 - 48
American Cinematographer - October 2014 - 49
American Cinematographer - October 2014 - 50
American Cinematographer - October 2014 - 51
American Cinematographer - October 2014 - 52
American Cinematographer - October 2014 - 53
American Cinematographer - October 2014 - 54
American Cinematographer - October 2014 - I3
American Cinematographer - October 2014 - I4
American Cinematographer - October 2014 - 55
American Cinematographer - October 2014 - 56
American Cinematographer - October 2014 - 57
American Cinematographer - October 2014 - 58
American Cinematographer - October 2014 - 59
American Cinematographer - October 2014 - 60
American Cinematographer - October 2014 - 61
American Cinematographer - October 2014 - 62
American Cinematographer - October 2014 - 63
American Cinematographer - October 2014 - 64
American Cinematographer - October 2014 - 65
American Cinematographer - October 2014 - 66
American Cinematographer - October 2014 - 67
American Cinematographer - October 2014 - 68
American Cinematographer - October 2014 - 69
American Cinematographer - October 2014 - 70
American Cinematographer - October 2014 - 71
American Cinematographer - October 2014 - 72
American Cinematographer - October 2014 - 73
American Cinematographer - October 2014 - 74
American Cinematographer - October 2014 - 75
American Cinematographer - October 2014 - 76
American Cinematographer - October 2014 - 77
American Cinematographer - October 2014 - 78
American Cinematographer - October 2014 - I1
American Cinematographer - October 2014 - I2
American Cinematographer - October 2014 - 79
American Cinematographer - October 2014 - 80
American Cinematographer - October 2014 - 81
American Cinematographer - October 2014 - 82
American Cinematographer - October 2014 - 83
American Cinematographer - October 2014 - 84
American Cinematographer - October 2014 - 85
American Cinematographer - October 2014 - 86
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American Cinematographer - October 2014 - 88
American Cinematographer - October 2014 - 89
American Cinematographer - October 2014 - 90
American Cinematographer - October 2014 - 91
American Cinematographer - October 2014 - 92
American Cinematographer - October 2014 - 93
American Cinematographer - October 2014 - 94
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American Cinematographer - October 2014 - 96
American Cinematographer - October 2014 - 97
American Cinematographer - October 2014 - 98
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American Cinematographer - October 2014 - 100
American Cinematographer - October 2014 - 101
American Cinematographer - October 2014 - 102
American Cinematographer - October 2014 - 103
American Cinematographer - October 2014 - 104
American Cinematographer - October 2014 - 105
American Cinematographer - October 2014 - 106
American Cinematographer - October 2014 - 107
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American Cinematographer - October 2014 - 109
American Cinematographer - October 2014 - 110
American Cinematographer - October 2014 - 111
American Cinematographer - October 2014 - 112
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American Cinematographer - October 2014 - 114
American Cinematographer - October 2014 - 115
American Cinematographer - October 2014 - 116
American Cinematographer - October 2014 - Cover3
American Cinematographer - October 2014 - Cover4
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