American Cinematographer - October 2017 - 64

◗

Devil in the Details

A crane-mounted camera supported from a moving platform keeps pace with Bettany as he
rides a bike alongside a mail truck.

isolates the subject from the background.
When Fitz goes to work on his
link charts and whiteboard, Galler
would switch to the Panavision Frazier

64

Lens System - designed for deepfocus macro photography - to get up
close and scrutinize the details of the
character's face just as intently as the
character scrutinizes his evidence. So

that the audience could see that
evidence clearly as well, B-camera operator and 2nd-unit cinematographer
Michael Watson used Innovision
Optics' Probe II and 6000 Series
Endoscopic lens systems for a detailed
look at the minutiae of Kaczynski's
letter-writing and bomb-building activities.
"This all stemmed from Greg
wanting to see a full-frame shot of a
typewriter hammer hitting a piece of
paper, or a record needle in the groove,"
says Galler. "We looked at visual effects
and punching in on a 4K image - until
we found these Probe lenses, which
dramatically change the scale of your
shot. You can convey very small things
in a big way."
Under normal ISO circumstances, the Frazier system's T7.1, the
Probe II's T5.6, and the 6000's T45
minimum apertures likely would have
required expensive, time-consuming
lighting setups, but the VariCam's ISO



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Table of Contents for the Digital Edition of American Cinematographer - October 2017

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
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American Cinematographer - October 2017 - 22
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American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
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American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
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American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
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American Cinematographer - October 2017 - 58
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American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
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American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
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