American Cinematographer - December 2017 - 82
◗
Delta Blues
Right: Gaffer Bob
Bates (far left)
holds the bounce,
while Morrison
frames a scene in
which Ronsel's
father, Hap (Rob
Morgan), injures
his leg. Below:
Director Dee Rees
(left) discusses a
scene with Mary J.
Blige (portraying
Hap's wife,
Florence).
days in Louisiana and two days in
Budapest.
They shot in 2.39:1 anamorphic
in the camera's Open Gate mode, with
de-squeeze for 2048x858, recording in
3.4K resolution to 256GB CFast 2.0
memory cards. "We shot Open Gate
anamorphic partly because I like the
falloff - the softening around the
edges," Morrison says. "For us, that
brought a lot of authenticity. We wanted
it to feel like an old photograph. The
82
December 2017
widescreen frame allowed us to contrast
the beauty of the ideal with the isolation
and powerlessness of reality."
Morrison shot mainly with
Panavision C Series and D Series
anamorphic primes - 35mm, 75mm
and 100mm for the former, and 40mm
and 50mm for the latter. The production primarily maintained an aperture of
T2.8 or a 2.8/4 split.
"When it came to visualizing the
claustrophobia, characters trapped by
American Cinematographer
their circumstances," the director of
photography says, she shot with a
150mm T Series and a 180mm E Series
prime. The production's kit also
included a 48-550mm ALZ11 (T4.5)
Primo Anamorphic Zoom, used occasionally for b-roll and crane work.
Morrison sometimes switched to
spherical lenses to gain a stop in
candlelit night scenes and to minimize
horizontal flares when facing the sun,
headlights, or any other hard source.
"The horizontal flare feels very contemporary or even futuristic to me, so I
avoided it whenever I could," she says.
In these instances she turned to
17.5mm and 40mm Primos; 24mm,
29mm and 50mm PVintage Primes;
and 75mm and 100mm Mark II
detuned Ultra Speeds.
The Alexa Mini's internal ND
filters were a bonus, given the harsh
brightness of the Louisiana sun in June
and July of 2016. Morrison would often
set the camera to ND 2.1, then add an
external ND 0.3 or 0.6 without getting
excessive color variants or "ghosting"
from the older glass.
"When shooting day interiors,
some of the wider C Series lenses had a
tendency to flare in an unpleasing milky
wash," adds on-set digital-imaging
Table of Contents for the Digital Edition of American Cinematographer - December 2017
Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
American Cinematographer - December 2017 - 52
American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
American Cinematographer - December 2017 - 68
American Cinematographer - December 2017 - 69
American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
American Cinematographer - December 2017 - 75
American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
American Cinematographer - December 2017 - 79
American Cinematographer - December 2017 - 80
American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
American Cinematographer - December 2017 - 91
American Cinematographer - December 2017 - 92
American Cinematographer - December 2017 - 93
American Cinematographer - December 2017 - 94
American Cinematographer - December 2017 - 95
American Cinematographer - December 2017 - 96
American Cinematographer - December 2017 - 97
American Cinematographer - December 2017 - 98
American Cinematographer - December 2017 - 99
American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
American Cinematographer - December 2017 - 108
American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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