American Cinematographer - November 2016 - 52

◗

Connecting the Pieces

Top: Wolff methodically places documents on the table in Black's boardroom. Bottom: The crew
readies the scene, which was shot on location at the Georgia Institute of Technology.

doing complex and difficult stuff, you
don't have to understand it completely
or make those calculations yourself."
The filmmakers had what the
Irish cameraman characterizes as "a
short but intense" five weeks of prep
that got underway ahead of approximately 50 days of principal photography, spanning January to March 2015,
in and around Atlanta, Ga. "We went
through every aspect of the film with
production designer Keith Cunningham and had a very clear idea of what
we were going for," McGarvey says.
52

November 2016

"Keith was great to talk to about finding
locations, weaving them in and working
out what we would shoot in studio and
blending that with real exteriors, particularly for a nighttime gun battle filmed
largely in semi-darkness."
The filmmakers were adamant
about shooting on Kodak Vision3 500T
5219 stock. "We knew we were going to
start the movie with a matter-of-factness about the photography before it
ramps up to being basically an action
movie," McGarvey offers. "And much
of it was going to be told in a nocturnal
American Cinematographer

environment. I wanted the 'teeth,'
contrast and grain I knew I could get
from the 5219 stock, which we often
pushed a stop to achieve."
Whereas O'Connor has originated all his features on film, McGarvey
captured digitally on The Avengers (AC
June '12), Godzilla (AC June '14), Fifty
Shades of Grey (AC March '15) and Pan,
and is currently shooting Life on Arri's
Alexa 65. The cinematographer has
rolled plenty of film, however, most
recently on the Chloë Sevigny-directed
short Kitty, and on director Tom
Ford's forthcoming thriller adaptation
Nocturnal Animals. In the case of The
Accountant, capturing on film required
some convincing. "The producers
wanted us to shoot digitally,"
McGarvey says. "That was part of their
budget and workflow. But Gavin and I
felt strongly that film was the way to go,
and we assured them we wouldn't blow
the budget on endless takes. Gavin
knows when he's got a shot and just
moves on."
The crew rolled a pair of
Panavision Millennium XL2 cameras,
with Dave Emmerichs handling A
camera and Steadicam. McGarvey had
recently worked with Emmerichs on a
Gucci commercial, and extended the
invite knowing the operator's strength
with Steadicam and handheld work.
Donal Steinberg came on board as Acamera 1st AC, and Bob Gorelick operated the B camera with Mary
Stankiewicz as his 1st AC. "Bob would
be on the zoom on a longer lens for
two-camera setups, which weren't that
frequent," McGarvey says. "We did that
for news-conference scenarios, [as well
as] scenes with Ray in his office due to
J.K. Simmons' availability. We had to
shoot very fast with him; he was in the
thick of Academy Award season, so he
was back and forth to L.A." (As it
turned out, Simmons' promotional
efforts paid off with a best supporting
actor win for Whiplash, shot by Sharone
Meir; see AC Nov. '14.)
McGarvey's crew was otherwise
largely local and new to him. "They
were really solid," he notes. "Gaffer



American Cinematographer - November 2016

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

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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