American Cinematographer - November 2016 - 74
conditions and during long improvised
takes. As for the crew, well, it seemed
almost impossible to drink enough water
to stay hydrated under the sizzling sun.
We outfitted the cameras with a set
of Xeen cinema lenses, Canon L-series
zooms, and Red Pro Primes. I rated the
cameras for 800 ISO; with the intense
sunlight, we often added up to five stops
of neutral-density filtration to help control
the exposure. We chose a cinema-vérité
style to complement the grittiness of the
script, and the cameras were set to record
the full frame of the 6K sensor while we
framed for a 2.39:1 widescreen ratio. This
allowed the director to reframe and stabilize the image if necessary in post.
Additional lighting was provided by
a pair of variable-color-temperature LED
light panels from Socanland and Arri
1,200-watt HMIs. When working outside,
strong wind gusts were always a possibility, so flexible reflectors were not a good
choice. Instead, we opted for foambacked shiny boards to light our actors.
Because we were a minimal, fastmoving crew, we were not able to safely
set up large overhead scrims or silks for
light control. Activating the HDRx feature
on the Weapon helped us by extending
the camera's range so that it could capture
the brightness level of our entire scene.
Weather also was a major factor in our
outdoor setups. Because we were filming
at the beginning of the monsoon season,
high winds and fast-approaching afternoon thunderstorms always posed a
concern.
With time running short during
production, we decided to break away a
second camera unit with program instructor Andrew Vasquez. To simplify things,
we reconfigured the B camera into a "runand-gun" setup with a set of Canon Lseries zooms and Light Craft Workshop's
variable ND filters. Having the ability to
change the Red camera's lens mount from
PL to Canon in the field was a big advantage.
Top: Roberts helps Markus Cook change the lens mount on a Red Epic. Middle: Roberts helps
Mills line up a shot. Bottom, from left: Andrew Cuch Jr., Deandra Eaglefeather and Trinadie
Lopez roll camera.
74
November 2016
American Cinematographer
Expanding Our Idea of
What Is Possible
For me, the most rewarding part of
the production was having one-on-one
discussions about filmmaking with the
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
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American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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