American Cinematographer - December 2019 - 70

Father and Son

To light the motel interior, says
Wotherspoon, "we did a lot practically, meaning Astera tubes hiding in
corners, LIFX bulbs in fixtures, and
then for the daytime [material], a 6K
PAR out the bathroom window.
When we went to nighttime mode,
we had Arri SkyPanels out there so
we could control the color and level."
"We worked in collaboration
with the production designer," Braier adds, "so that all the practical lights in the motel set were LED-controllable by dimmers,
replacing conventional bulbs or tubes for LED ones. Most of the 'light deejaying' was done with the practical lights that were
on set, [which were often visible] in the shot itself. [Motion-picture lights] were used to emulate exterior lighting coming
through the windows, but the main work was done with the small practicals, including the 'TV light.'"
with more dimmers/iPads, so I
would do some myself and tell him
how to dim the others." If LaBeouf
began the scene beside a window, for
example, and then moved to a darker
spot, "I would adjust as he moved,

2.39:1

TECH SPECS

Digital Capture

Arri Alexa Mini,
Vision Research Phantom Flex4K
(for a single slow-motion scene)

Joe Dunton Cameras/Cooke Xtal Xpres

70

December 2019

very slowly, trying to make it not
noticeable. So wherever he ended up,
he had interesting lighting." This
system was a handy option, since
Braier couldn't stop to tweak lights,
even for close-ups, as the preference
for this production was to not interrupt the actors between takes once
shooting had begun.
Captured on location in Los
Angeles, the production carried two
Arri Alexa Minis, shooting ArriRaw
and recording to CFast 2.0 cards.
While mostly a one-camera shoot,
both cameras rolled whenever
LaBeouf and young Jupe were
together in a scene. Braier operated B
camera when she wasn't working her
dimmer, such as on day exteriors.
Other times, Har'el or operator
ASC 100th Anniversary

Valentine Marvel would operate the
second camera.
The filmmakers shot anamorphic, framing for 2.39:1. "I'm in love
with anamorphic," Braier says. "It
helps break the perfection and sharpness of digital, and make it all a bit
more organic and cinematic. And you
get lens aberrations - some magic
happening there."
Wanting a nostalgic, analog
feeling, Braier chose JDC Cooke Xtal
Xpres anamorphics. "On every
movie, I test a lot of lenses, and I
always end up using the same set of
Xtal Xpres lenses made by Joe
Dunton [BSC]," a renowned British
cinematographer and inventor. "So
these are his babies, made a few
decades ago. I used them on Neon



American Cinematographer - December 2019

Table of Contents for the Digital Edition of American Cinematographer - December 2019

Contents
American Cinematographer - December 2019 - Intro
American Cinematographer - December 2019 - Cover1
American Cinematographer - December 2019 - Cover2
American Cinematographer - December 2019 - 1
American Cinematographer - December 2019 - Contents
American Cinematographer - December 2019 - 3
American Cinematographer - December 2019 - 4
American Cinematographer - December 2019 - 5
American Cinematographer - December 2019 - 6
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American Cinematographer - December 2019 - 100
American Cinematographer - December 2019 - 100a
American Cinematographer - December 2019 - 100b
American Cinematographer - December 2019 - 101
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American Cinematographer - December 2019 - Cover3
American Cinematographer - December 2019 - Cover4
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