◗ Harmony and Discord Top: The cinematographer captures a closeup of Dano in performance as Wilson. Middle: The Beach Boys perform in their iconic "candy stripes." Bottom: Steadicam operator Chris Haarhoff captures a scene with Dano and Darke. filmmakers opted for two Kodak Vision3 stocks: 200T 5213 and 500T 5219. "We shot 3-perf Super 35mm to give ourselves more running time on each mag," Yeoman notes. Most of the Super 35mm work was done with a Panaflex Platinum on a dolly; the lighter Panaflex Millennium XL was employed for handheld and Steadicam shots. The crew used Primo Prime lenses, favoring wider focal lengths. "I'm a big fan of the 27mm and 40mm," Yeoman says. "We shot almost entirely on location - and there were some tight rooms - so we needed the wider lenses to get our wide shots." He says he preferred the 75mm for close-ups, and on occasion he would swap the primes for a Primo 17.575mm T2.3 or 24-275mm T2.8 zoom. To help capture the look of the '60s, Yeoman suggested shooting on Super 16mm. "I'm a big believer in that format," he says. "It has a quality you can't achieve shooting 35mm or digitally. Even the way the handheld camera moves creates a very distinct feeling. I showed Bill some tests and he loved it." Yeoman clarifies that the production shot "all of the '60s [recordingstudio] scenes in Super 16, and a few other select scenes such as on the airplane when Brian starts to freak out." 66 July 2015 American Cinematographer