American Cinematographer - November 2016 - 56
◗
Connecting the Pieces
Top: McGarvey lines up a low-angle shot for an action scene with Affleck.
Middle: The cinematographer and crew prep the lighting for a sequence on a stage-built
interior set of Black's house. Bottom: The crew works on a scene in which a group of armed
mercenaries surrounds the home.
56
November 2016
American Cinematographer
Pearson, said that he wished he had
clearer shots of a few bits and pieces.
So we picked up some inserts that
hammered home little plot points."
Characters'
movements
throughout the house are tracked via
security cameras. This footage was
initially captured on iPhone cameras
with the Flir One thermal-imaging
attachment, as well as on Canon EOS
5D Mark IIIs fitted with Canon EF
16-35mm (f2.8) zooms. One of each
camera was placed side-by-side in the
corners of rooms, but as the cinematographer notes, "In postproduction
the Flir material seemed too abstract,
so we decided to go with the footage
we shot with the Canon 5Ds. They
gave a slightly clearer image but still
one we could shoot in that low light."
The filmmakers shot other surveillance footage with the XL2 - with an
IR attachment mounted on the
Primos - but O'Connor found the
image too indistinct and grainy, so
again the Canon cameras got the nod.
On stage, the exterior front of
the house was lit by 5Ks with
Chimeras and the moonlight gel pack
- 1⁄2 Blue and 1⁄4 Plus Green. On
location, when the crew set up a wide
shot in which a group of armed mercenaries arrives and surrounds the house,
McGarvey reports that they shot dusk
for night "so at least the silhouette of
the house would be defined by a
lighter sky that I could pull down in
the grade." Here, moonlight was
created by gelled 12-light Maxi-Brutes
- each fitted with alternating flood
and spot globes - mounted on a pair
of condors down the street, with two
Maxi-Brutes per condor. "It was quite
an inaccessible location, and there were
only a couple of places we could actually put lights," the cinematographer
notes. "I needed maximum throw, so I
had to use harder sources. I didn't
diffuse at all."
The front of the house was
further illuminated by "two rows of
recessed spots [along the walkway],"
Holmes says, as well as 1K black Par
cans - which were patched into a
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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