American Cinematographer - December 2013 - 42

◗

Boom and Bust

Top (from left):
Chantelle (Katarina
Cas) models a
money suit for
Donnie Azoff
(Jonah Hill),
Belfort, Naomi
(Margot Robbie)
and Brad (Jon
Bernthal). Bottom:
Scorsese takes the
actors through the
scene.

has found some clarity and direction,"
says Scorsese.
They decided to achieve this
mainly with different optics, lighting
styles and color schemes. Using Belfort's
state of mind as his guide, Prieto alternated between spherical Arri Master
Primes and anamorphic Hawk V, VLite and V-Plus lenses to achieve different degrees of depth, perspective and
42

December 2013

clarity. Scorsese adds that Prieto also
convinced him to enhance the contrast
between Belfort's states of mind by
mixing in some diffusion filters, occasionally adding ambient smoke and
pushing the negative.
"At the beginning of Belfort's
story, we started with a softer, slightly
murky look," Prieto explains. "He hasn't
found himself yet, and he's still confused
American Cinematographer

and awestruck by Wall Street. I used the
shallow depth-of-field and slight distortion of anamorphic lenses for this first
phase of his career."
Before Belfort starts his own
business, he lands his first job at the firm
LF Rothschild, a set dominated by
green and gold lighting that evokes
"old-world wealth," as Scorsese notes.
Prieto adds, "The color scheme was
inspired by a photo I found of a brokerage firm in the 1980s." Shooting on
5207, the cinematographer used tungsten-balanced fluorescent lights and ¼
Tiffen Black Pro-Mist filters on the
Hawk lenses. "For wide shots of the
office space, we used the 28mm and
35mm V-Lite lenses, which curved the
edges of the frame a bit, adding to the
sense of instability," he says. "This look
was not as crisp or clean as the look of
Belfort's later offices, where we used a
lot of white. Using daylight stock with
tungsten lighting resulted in an amber
coloration, and then I pushed those
scenes 1 stop to add a little extra grain
and contrast. The warm ambient lighting contrasts with the green graphics on
all the desktop computer screens and
the green LED tickertape in the office.
"When the crash of 1987



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
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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
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