American Cinematographer - February 2011 - 18
Clockwise from top left: A-camera operator Lorenzo Senatore (far left) shoulders the camera as Boyd meters a shot and Weir works through a scene with actors Colin Farrell and Gustav Skarsgård; the volatile Valka (Farrell) threatens Janusz (Jim Sturgess); harsh elements test the group’s mettle.
12 1K tungsten globes and four 1.2K HMIs. By floating this balloon to the ceiling of the cave, Boyd was able to achieve two night looks: moonlight and campfire. “I used a mix of tungsten and HMI [light] to get a cool moonlight feel, and we switched to all tungsten for campfire scenes and all HMI for day scenes,” he explains. The filmmakers ran two cameras most of the time, with Lorenzo Senatore on the A camera and Mark Vargo, ASC on the B camera. (Vargo was also the second-unit cinematographer.) “Peter likes to work very closely with his operators, and Lorenzo and
18 February 2011
Mark responded by making an enormous contribution to the film,” notes Boyd. The camera package included two Panaflex Millennium XLs, two Panaflex Platinums, and a PanArri 435. Boyd adds, “Lorenzo brought his own Arri 235, and we used that on occasion.” Using Panavision Primo prime and zoom lenses, Boyd typically maintained a stop of T2.8-T4. “I tend not to use zoom lenses for zooming, per se, but instead as variable primes,” he notes. After wrapping the Bulgaria portion of the shoot, the production moved to the Sahara in Morocco, where they spent about
American Cinematographer
three weeks. Boyd used 12'x12' Griffolyn or Ultrabounce reflectors to shape the sunlight. “I’d have the grips put up a 12-by with Griffolyn or Ultrabounce on one side and a silver reflector on the other. If we were on a close shot, we could use the Griffolyn or Ultrabounce for fill; if we were on a wider shot, I could back the bounce off and use the silver side. On rare occasions, we’d aim an 18K HMI into the bounce to help fill.” During the DI process at EFilm, The Way Back was scanned and filmed out at 4K. The filmmakers initially attempted to strike a print from a standard dupe negative, “but none of us were happy with the way that looked,” says Boyd. “The color and sharpness weren’t what we wanted, and some scenes were definitely very disappointing. So we decided to make all of our release prints from two digital negatives. The results are really fantastic. “This was my sixth film with Peter, and I can say that each of them has been a career highlight for me,” concludes Boyd. “I can only hope there will be a seventh soon!”
TECHNICAL SPECS
2.40:1 4-perf Super 35mm Panaflex Millennium XL, Platinum; PanArri 435; Arri 235 Panavision Primo lenses Kodak Vision3 500T 5219 Digital Intermediate Printed on Kodak Vision 2383
➣
American Cinematographer - February 2011
Table of Contents for the Digital Edition of American Cinematographer - February 2011
American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way Back • The Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way Back • The Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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