American Cinematographer - December 2015 - 49

"This enabled us to get wide enough for
the 70mm anamorphic format. Of
course, this needed to be tented to
control the bright sunshine. We then
shot through oversized hard gels to
obtain balance, while bouncing light
inside the coach."
Throughout
production,
Tavenner was charged with keeping the
lenses safe and warm - a key responsibility, as The Hateful Eight was using the
only known workable set in the entire
world. Indeed, the 1st AC helped
design the optics' heated cases; he also
traveled back and forth to Panavision
several times to get individual focal
lengths repaired or tweaked by Sasaki,
on a one- to two-day turnaround, when
occasional problems arose.
"These lenses were a giant leap of
faith," Tavenner says. "We were taking
lenses that had not been out of the
warehouse in 40 years up into the
mountains of Telluride at 10,000 feet in
wintertime. I had no clear idea how they
would respond. We kept them within
certain temperature ranges so that the
expansion-contraction variables were
minimized."
The focus-pulling challenge was
as complex as any Tavenner had ever
dealt with. "It just came down to getting
to know each lens and its physicality
and mechanical adaptations," he says,
"to understand the quality of each
particular lens so I could make it work
during shooting. Each lens had its own
individual configuration demanding
certain mobility on set to achieve the
same speed as modern systems. When
you get to know a lens - and once you
get it calibrated to where you know it is
focusing where you want it to focus -
then it is just a matter of keeping that
system functioning that way for a 100day show."
In fact, everyone on the filmmaking team had to adjust their preferred
ways of doing certain things in order to
get maximum value out of the Ultras.
Tarantino and Richardson, for example,
had to revise shots due to the fact that
the Panavision Ultra 70 system did not
include zoom lenses. Forgoing zooms

was his "biggest loss," Tarantino says,
but he feels the sacrifice was more than
worth it. "I had gotten really comfortable and really facile using a zoom lens,"
he says. "Then we didn't have it. But
after a while, I kind of looked at it as a
good thing. Maybe I had been too facile
with the zoom. Maybe I had gotten too
comfortable with it. So I started looking
at it as a neat thing - a fun challenge.
"We also didn't use any

Steadicam," Tarantino continues. "But
we had [already been moving away
from] Steadicam before this film. For
one thing, the Steadicam is too modern
to use for a Western, but also, Bob has
been steering me toward the use of the
crane more and more. He loves the
crane, and we used it a lot on Inglourious
Basterds [AC Sept. '09] and Django
Unchained. But here we went even
further, to the point where we basically



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American Cinematographer - December 2015

Table of Contents for the Digital Edition of American Cinematographer - December 2015

Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
American Cinematographer - December 2015 - 5
American Cinematographer - December 2015 - 6
American Cinematographer - December 2015 - 7
American Cinematographer - December 2015 - 8
American Cinematographer - December 2015 - 9
American Cinematographer - December 2015 - 10
American Cinematographer - December 2015 - 11
American Cinematographer - December 2015 - 12
American Cinematographer - December 2015 - 13
American Cinematographer - December 2015 - 14
American Cinematographer - December 2015 - 15
American Cinematographer - December 2015 - 16
American Cinematographer - December 2015 - 17
American Cinematographer - December 2015 - 18
American Cinematographer - December 2015 - 19
American Cinematographer - December 2015 - 20
American Cinematographer - December 2015 - 21
American Cinematographer - December 2015 - 22
American Cinematographer - December 2015 - 23
American Cinematographer - December 2015 - 24
American Cinematographer - December 2015 - 25
American Cinematographer - December 2015 - 26
American Cinematographer - December 2015 - 27
American Cinematographer - December 2015 - 28
American Cinematographer - December 2015 - 29
American Cinematographer - December 2015 - 30
American Cinematographer - December 2015 - 31
American Cinematographer - December 2015 - 32
American Cinematographer - December 2015 - 33
American Cinematographer - December 2015 - 34
American Cinematographer - December 2015 - 35
American Cinematographer - December 2015 - 36
American Cinematographer - December 2015 - 37
American Cinematographer - December 2015 - 38
American Cinematographer - December 2015 - 39
American Cinematographer - December 2015 - 40
American Cinematographer - December 2015 - 41
American Cinematographer - December 2015 - 42
American Cinematographer - December 2015 - 43
American Cinematographer - December 2015 - 44
American Cinematographer - December 2015 - 45
American Cinematographer - December 2015 - 46
American Cinematographer - December 2015 - 47
American Cinematographer - December 2015 - 48
American Cinematographer - December 2015 - 49
American Cinematographer - December 2015 - 50
American Cinematographer - December 2015 - 51
American Cinematographer - December 2015 - 52
American Cinematographer - December 2015 - 53
American Cinematographer - December 2015 - 54
American Cinematographer - December 2015 - 55
American Cinematographer - December 2015 - 56
American Cinematographer - December 2015 - 57
American Cinematographer - December 2015 - 58
American Cinematographer - December 2015 - 59
American Cinematographer - December 2015 - 60
American Cinematographer - December 2015 - 61
American Cinematographer - December 2015 - 62
American Cinematographer - December 2015 - 63
American Cinematographer - December 2015 - 64
American Cinematographer - December 2015 - 65
American Cinematographer - December 2015 - 66
American Cinematographer - December 2015 - 67
American Cinematographer - December 2015 - 68
American Cinematographer - December 2015 - 69
American Cinematographer - December 2015 - 70
American Cinematographer - December 2015 - 71
American Cinematographer - December 2015 - 72
American Cinematographer - December 2015 - 73
American Cinematographer - December 2015 - 74
American Cinematographer - December 2015 - 75
American Cinematographer - December 2015 - 76
American Cinematographer - December 2015 - 77
American Cinematographer - December 2015 - 78
American Cinematographer - December 2015 - 79
American Cinematographer - December 2015 - 80
American Cinematographer - December 2015 - 81
American Cinematographer - December 2015 - 82
American Cinematographer - December 2015 - 83
American Cinematographer - December 2015 - 84
American Cinematographer - December 2015 - 85
American Cinematographer - December 2015 - 86
American Cinematographer - December 2015 - 87
American Cinematographer - December 2015 - 88
American Cinematographer - December 2015 - 89
American Cinematographer - December 2015 - 90
American Cinematographer - December 2015 - 91
American Cinematographer - December 2015 - 92
American Cinematographer - December 2015 - 93
American Cinematographer - December 2015 - 94
American Cinematographer - December 2015 - 95
American Cinematographer - December 2015 - 96
American Cinematographer - December 2015 - 97
American Cinematographer - December 2015 - 98
American Cinematographer - December 2015 - 99
American Cinematographer - December 2015 - 100
American Cinematographer - December 2015 - 101
American Cinematographer - December 2015 - 102
American Cinematographer - December 2015 - 103
American Cinematographer - December 2015 - 104
American Cinematographer - December 2015 - 105
American Cinematographer - December 2015 - 106
American Cinematographer - December 2015 - 107
American Cinematographer - December 2015 - 108
American Cinematographer - December 2015 - 109
American Cinematographer - December 2015 - 110
American Cinematographer - December 2015 - 111
American Cinematographer - December 2015 - 112
American Cinematographer - December 2015 - Cover3
American Cinematographer - December 2015 - Cover4
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