American Cinematographer - December 2013 - 43

happens, LF Rothschild fails and
closes, and Belfort finds himself unemployed," Prieto continues. "He eventually finds work at an investment center
as a regular employee, a job he hates. I
lit that set only with light through big
windows on one side, and the feeling is
like a cave, a place where he sort of falls
into darkness."
Eventually, Belfort rebounds,
starts his own brokerage house and
achieves massive success, only to crash
and lose it all. "When he figures out
how to make a lot of money and
becomes a success, we wanted a crisper,
more pristine look - a look of greater
clarity," says Prieto. "We switched to
spherical Master Primes and used them
without diffusion for this section.
"Then, when he finds himself
under investigation and his world
unravels, we devised what I call 'the
paranoia look,'" he continues. "We
switched back to Hawk anamorphics,
this time using longer focal lengths to
create a sense of being spied on, and for
some scenes we added some ambient
smoke so the backgrounds became
slightly milky, with shallow depth-offield. For those scenes, I also pushed the
film stock [both 5219 and 5207,
depending on the scene] 1 stop to add
grain and contrast."
First AC Zoran Veselic jokingly
calls the Hawk lenses "anamorphic

Top: Belfort belts out a tune during a pool party at his beach house. Bottom: The crew positions an
18K HMI Fresnel on a Condor to maintain lighting continuity beneath the oncoming cloud cover.

Master Primes" because "they have that
same quality of crispness and sharpness,
but with a slight anamorphic falloff. We
loved their consistency. On the longer
end of the primes, we started the show
with a V-Lite 140mm, and then we
decided to continue with a V-Plus
135mm, which we found a little bit
sharper." Prieto also used V-Lite 45mm,
55mm, 65mm, 80mm and 110mm
primes; V-Plus 45-90mm and 80180mm zooms; and a V series 180mm.
www.theasc.com

Prieto's approach was adapted
more specifically to visually distinguish
the three iterations of Belfort's company,
Stratton Oakmont, as it grows. After
starting out in a refurbished auto shop,
Belfort moves his business into a proper
office, and then, finally, into a large,
ornate office space. To help differentiate
among the settings, Prieto used different
color-temperature mixtures and applied
various filters and diffusion.
When Belfort starts his own
December 2013

43


http://www.theasc.com

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
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American Cinematographer - December 2013 - 100
American Cinematographer - December 2013 - 101
American Cinematographer - December 2013 - 102
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American Cinematographer - December 2013 - 104
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American Cinematographer - December 2013 - 110
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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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