American Cinematographer - October 2015 - 24
Bailey, Kwapis and crew prep a scene with Nolte and Redford on a greenscreen set.
Bailey worked between a T8 and T11,
which he describes as the "happy area"
in terms of exposure, lens resolution and
depth of field for exterior work. "If I got
brighter daylight, I would just change the
neutral-density filter so that I could maintain a more consistent stop," he explains.
"I don't like to go from an 11 to a 4 when
the light changes.
"If you can keep your aperture the
same, it really helps you maintain a
consistent look," Bailey continues. "If
you're not changing your ND filters and
you're at an 11 stop in the sun, and then
you lose light and suddenly you're at a 4,
there's a noticeable difference in your
depth of field. It might be subtle, but the
audience will still notice it."
In keeping with his small-footprint
approach, Bailey worked with a minimal
lighting package. Frequently overcast
skies provided soft light, and even hard
sun was usually broken up by the trees.
When additional lighting was necessary
for the day exteriors, Bailey mostly relied
on small 1.2K HMIs and Kino Flo Celebs,
which he praises for their compact size
and strong output.
The few night scenes set on the
trail were actually filmed in a Norcross,
Ga., factory that was converted to a
stage. For a campfire scene, production
24
October 2015
designer Gae Buckley blacked out the
interior and brought in trees; to create
separation and a sense of "moonlight"
ambience, Bailey and gaffer Michael
Moyer backlit the scene with several 4K
HMIs. In another sequence, Bryson and
Katz fall off the trail and become stranded
on a lower outcrop of rock; the day exteriors were shot in an Atlanta rock quarry,
and Buckley re-created the setting
onstage for the night scene, in which
Bailey employed back-cross 4K HMIs.
The most ambitious night exterior
shot on location finds Bryson at a motel.
A dolly shot follows Bryson and the
motel's proprietor (played by Mary Steenburgen) in a walk-and-talk along the row
of rooms. Bailey and Moyer backlit the
location with tungsten Par lights mounted
on a Condor and a few well-placed
Babies along the motel's rooftop.
When shooting with the Alexa,
Bailey and digital-imaging technician
Stuart Huggins used a single LUT -
slightly modified from Rec 709 - and if
Bailey needed to make a change to the
color temperature, he did so within the
Alexa's menu system. He says he also likes
to use soft graduated filters to control hot
sky or ground, since highlights in digital
burn out much easier. "If I were doing a
TV series where I didn't have a chance to
American Cinematographer
do color correction at the end and it went
to air a month after we shot it, I probably
would be more inclined to do on-set color
correction," the cinematographer adds.
"But for features, this is not in my blood,
because I want to be on the set with the
director, the actors and my crew."
Throughout the shoot, Huggins
downloaded the previous day's work
onto Bailey's iPad for dailies review. The
production's negative was processed at
FotoKem in Burbank and scanned at 2K
resolution for the final grade at Sixteen19
in Brooklyn's Steiner Studios, where Bailey
worked with colorist Andrew Francis.
According to Bailey, the grade was
straightforward and mainly consisted of
controlling contrast and skies. There were
times when all the greens in frame would
block up, so Francis would highlight and
brighten certain areas to provide separation and bring out detail. "A lot of it was
really trying to maintain a consistent look
through the course of a three-page scene
that [was shot over] most of the day with
the light constantly changing," says
Bailey.
Kwapis loves Bailey's process and
says the cinematographer has the ability
to channel all of film history when lining
up a shot. "I think what he does in terms
of his lighting is incredibly expressive, but
also grounded," the director enthuses.
"He is the last of the great realists, and he
always makes sure that what's in front of
the camera doesn't feel manufactured or
synthetic. It's about real light falling on
real objects. I think John would subscribe
to the philosophy that the greatest landscape a person can photograph is that of
a human face in the midst of a dramatic
situation."
TECHNICAL SPECS
2.39:1
3-perf Super 35mm and Digital Capture
Panavision Panaflex Millennium XL,
Arri Alexa Classic,
Panasonic Lumix G DMC-GH4
Panavision Primo
Kodak Vision3 50D 5203, 250D 5207
Digital Intermediate
➣
Table of Contents for the Digital Edition of American Cinematographer - October 2015
Contents
American Cinematographer - October 2015 - Intro
American Cinematographer - October 2015 - Cover1
American Cinematographer - October 2015 - Cover2
American Cinematographer - October 2015 - 1
American Cinematographer - October 2015 - 2
American Cinematographer - October 2015 - Contents
American Cinematographer - October 2015 - 4
American Cinematographer - October 2015 - 5
American Cinematographer - October 2015 - 6
American Cinematographer - October 2015 - 7
American Cinematographer - October 2015 - 8
American Cinematographer - October 2015 - 9
American Cinematographer - October 2015 - 10
American Cinematographer - October 2015 - 11
American Cinematographer - October 2015 - 12
American Cinematographer - October 2015 - 13
American Cinematographer - October 2015 - 14
American Cinematographer - October 2015 - 15
American Cinematographer - October 2015 - 16
American Cinematographer - October 2015 - 17
American Cinematographer - October 2015 - 18
American Cinematographer - October 2015 - 19
American Cinematographer - October 2015 - 20
American Cinematographer - October 2015 - 21
American Cinematographer - October 2015 - 22
American Cinematographer - October 2015 - 23
American Cinematographer - October 2015 - 24
American Cinematographer - October 2015 - 25
American Cinematographer - October 2015 - 26
American Cinematographer - October 2015 - 27
American Cinematographer - October 2015 - 28
American Cinematographer - October 2015 - 29
American Cinematographer - October 2015 - 30
American Cinematographer - October 2015 - 31
American Cinematographer - October 2015 - 32
American Cinematographer - October 2015 - 33
American Cinematographer - October 2015 - 34
American Cinematographer - October 2015 - 35
American Cinematographer - October 2015 - 36
American Cinematographer - October 2015 - 37
American Cinematographer - October 2015 - 38
American Cinematographer - October 2015 - 39
American Cinematographer - October 2015 - 40
American Cinematographer - October 2015 - 41
American Cinematographer - October 2015 - 42
American Cinematographer - October 2015 - 43
American Cinematographer - October 2015 - 44
American Cinematographer - October 2015 - 45
American Cinematographer - October 2015 - 46
American Cinematographer - October 2015 - 47
American Cinematographer - October 2015 - 48
American Cinematographer - October 2015 - 49
American Cinematographer - October 2015 - 50
American Cinematographer - October 2015 - 50a
American Cinematographer - October 2015 - 50b
American Cinematographer - October 2015 - 51
American Cinematographer - October 2015 - 52
American Cinematographer - October 2015 - 53
American Cinematographer - October 2015 - 54
American Cinematographer - October 2015 - 55
American Cinematographer - October 2015 - 56
American Cinematographer - October 2015 - 57
American Cinematographer - October 2015 - 58
American Cinematographer - October 2015 - 59
American Cinematographer - October 2015 - 60
American Cinematographer - October 2015 - 61
American Cinematographer - October 2015 - 62
American Cinematographer - October 2015 - 63
American Cinematographer - October 2015 - 64
American Cinematographer - October 2015 - 65
American Cinematographer - October 2015 - 66
American Cinematographer - October 2015 - 67
American Cinematographer - October 2015 - 68
American Cinematographer - October 2015 - 69
American Cinematographer - October 2015 - 70
American Cinematographer - October 2015 - 71
American Cinematographer - October 2015 - 72
American Cinematographer - October 2015 - 73
American Cinematographer - October 2015 - 74
American Cinematographer - October 2015 - 75
American Cinematographer - October 2015 - 76
American Cinematographer - October 2015 - 77
American Cinematographer - October 2015 - 78
American Cinematographer - October 2015 - 79
American Cinematographer - October 2015 - 80
American Cinematographer - October 2015 - 81
American Cinematographer - October 2015 - 82
American Cinematographer - October 2015 - 83
American Cinematographer - October 2015 - 84
American Cinematographer - October 2015 - 85
American Cinematographer - October 2015 - 86
American Cinematographer - October 2015 - 87
American Cinematographer - October 2015 - 88
American Cinematographer - October 2015 - 89
American Cinematographer - October 2015 - 90
American Cinematographer - October 2015 - 91
American Cinematographer - October 2015 - 92
American Cinematographer - October 2015 - 93
American Cinematographer - October 2015 - 94
American Cinematographer - October 2015 - 95
American Cinematographer - October 2015 - 96
American Cinematographer - October 2015 - Cover3
American Cinematographer - October 2015 - Cover4
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