American Cinematographer - December 2013 - 41
Top: Belfort sets
the tone for an
ill-conceived
contest. Middle:
Key grip Tommy
Prate (right) uses a
pole to push the
camera along a 70'
I-beam, to capture
the brokers as
they frantically sell
stock. Bottom: The
grips built a
protective wall so
wrestling actors
could appear to
bump into the
camera.
more than 400 visual-effects shots.
Legato had collaborated with
Richardson on three Scorsese pictures,
Hugo, Shutter Island (AC March '10)
and The Aviator (AC Jan. '05), and says
he found it stimulating "to embrace a
different approach and learn something
new" from Prieto. "After working with
Bob Richardson for so long, I had
grown to have similar sensibilities about
shots and lighting, and Rodrigo has an
entirely different lighting style," he says.
"That gave me an opportunity to adapt
to a different way of working and seeing
things, which I found intriguing. My
challenge for both the visual effects and
the second-unit work was to match
Rodrigo's lighting style precisely."
For the production's film work,
which was shot on 4-perf Super 35mm,
Prieto chose Arricam Lites and Kodak
Vision3 250D 5207 (for day scenes)
and 500T 5219 (for tungsten-lit
scenes). For the digital work, he chose
Arri Alexa Studio and Plus systems,
capturing in ArriRaw in Log C wide
gamut.
The filmmakers' global challenge
was to figure out how to visually represent the different stages of Belfort's
story. "Rodrigo and I decided to [distinguish] the scenes where Jordan is uncertain or lost from the scenes where he
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December 2013
41
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American Cinematographer - December 2013
Table of Contents for the Digital Edition of American Cinematographer - December 2013
Contents
American Cinematographer - December 2013 - Cover1
American Cinematographer - December 2013 - Cover2
American Cinematographer - December 2013 - Contents
American Cinematographer - December 2013 - 2
American Cinematographer - December 2013 - 3
American Cinematographer - December 2013 - 4
American Cinematographer - December 2013 - 5
American Cinematographer - December 2013 - 6
American Cinematographer - December 2013 - 7
American Cinematographer - December 2013 - 8
American Cinematographer - December 2013 - 9
American Cinematographer - December 2013 - 10
American Cinematographer - December 2013 - 11
American Cinematographer - December 2013 - 12
American Cinematographer - December 2013 - 13
American Cinematographer - December 2013 - 14
American Cinematographer - December 2013 - 15
American Cinematographer - December 2013 - 16
American Cinematographer - December 2013 - 17
American Cinematographer - December 2013 - 18
American Cinematographer - December 2013 - 19
American Cinematographer - December 2013 - 20
American Cinematographer - December 2013 - 21
American Cinematographer - December 2013 - 22
American Cinematographer - December 2013 - 23
American Cinematographer - December 2013 - 24
American Cinematographer - December 2013 - 25
American Cinematographer - December 2013 - 26
American Cinematographer - December 2013 - 27
American Cinematographer - December 2013 - 28
American Cinematographer - December 2013 - 29
American Cinematographer - December 2013 - 30
American Cinematographer - December 2013 - 31
American Cinematographer - December 2013 - 32
American Cinematographer - December 2013 - 33
American Cinematographer - December 2013 - 34
American Cinematographer - December 2013 - 35
American Cinematographer - December 2013 - 36
American Cinematographer - December 2013 - 37
American Cinematographer - December 2013 - 38
American Cinematographer - December 2013 - 39
American Cinematographer - December 2013 - 40
American Cinematographer - December 2013 - 41
American Cinematographer - December 2013 - 42
American Cinematographer - December 2013 - 43
American Cinematographer - December 2013 - 44
American Cinematographer - December 2013 - 45
American Cinematographer - December 2013 - 46
American Cinematographer - December 2013 - 47
American Cinematographer - December 2013 - 48
American Cinematographer - December 2013 - 49
American Cinematographer - December 2013 - 50
American Cinematographer - December 2013 - 51
American Cinematographer - December 2013 - 52
American Cinematographer - December 2013 - 53
American Cinematographer - December 2013 - 54
American Cinematographer - December 2013 - 55
American Cinematographer - December 2013 - 56
American Cinematographer - December 2013 - 57
American Cinematographer - December 2013 - 58
American Cinematographer - December 2013 - 59
American Cinematographer - December 2013 - 60
American Cinematographer - December 2013 - 61
American Cinematographer - December 2013 - 62
American Cinematographer - December 2013 - 63
American Cinematographer - December 2013 - 64
American Cinematographer - December 2013 - S-1
American Cinematographer - December 2013 - S-2
American Cinematographer - December 2013 - S-3
American Cinematographer - December 2013 - S-4
American Cinematographer - December 2013 - S-5
American Cinematographer - December 2013 - S-6
American Cinematographer - December 2013 - S-7
American Cinematographer - December 2013 - S-8
American Cinematographer - December 2013 - S-9
American Cinematographer - December 2013 - S-10
American Cinematographer - December 2013 - S-11
American Cinematographer - December 2013 - S-12
American Cinematographer - December 2013 - 65
American Cinematographer - December 2013 - 66
American Cinematographer - December 2013 - 67
American Cinematographer - December 2013 - 68
American Cinematographer - December 2013 - 69
American Cinematographer - December 2013 - 70
American Cinematographer - December 2013 - 71
American Cinematographer - December 2013 - 72
American Cinematographer - December 2013 - 73
American Cinematographer - December 2013 - 74
American Cinematographer - December 2013 - 75
American Cinematographer - December 2013 - 76
American Cinematographer - December 2013 - 77
American Cinematographer - December 2013 - 78
American Cinematographer - December 2013 - 79
American Cinematographer - December 2013 - 80
American Cinematographer - December 2013 - 81
American Cinematographer - December 2013 - 82
American Cinematographer - December 2013 - 83
American Cinematographer - December 2013 - 84
American Cinematographer - December 2013 - 85
American Cinematographer - December 2013 - 86
American Cinematographer - December 2013 - 87
American Cinematographer - December 2013 - 88
American Cinematographer - December 2013 - 89
American Cinematographer - December 2013 - 90
American Cinematographer - December 2013 - 91
American Cinematographer - December 2013 - 92
American Cinematographer - December 2013 - 93
American Cinematographer - December 2013 - 94
American Cinematographer - December 2013 - 95
American Cinematographer - December 2013 - 96
American Cinematographer - December 2013 - 97
American Cinematographer - December 2013 - 98
American Cinematographer - December 2013 - 99
American Cinematographer - December 2013 - 100
American Cinematographer - December 2013 - 101
American Cinematographer - December 2013 - 102
American Cinematographer - December 2013 - 103
American Cinematographer - December 2013 - 104
American Cinematographer - December 2013 - 105
American Cinematographer - December 2013 - 106
American Cinematographer - December 2013 - 107
American Cinematographer - December 2013 - 108
American Cinematographer - December 2013 - 109
American Cinematographer - December 2013 - 110
American Cinematographer - December 2013 - 111
American Cinematographer - December 2013 - 112
American Cinematographer - December 2013 - 113
American Cinematographer - December 2013 - 114
American Cinematographer - December 2013 - 115
American Cinematographer - December 2013 - 116
American Cinematographer - December 2013 - Cover3
American Cinematographer - December 2013 - Cover4
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