American Cinematographer - June 2016 - 92
◗
Against the Clock
For the Alexa XT, which shot in
Open Gate mode at 3.4K, Dryburgh
selected his favorite lenses - Vantage
Film Hawk V-Lite anamorphics with
a 1.3x squeeze. Though one might
typically use 1.3x-squeeze lenses on a
16:9 chip to obtain a widescreen
image of 2.39:1, Dryburgh used it to
stretch the Alexa XT's 4:3 Open Gate
sensor to 1.85:1. The cinematographer
notes that his preferred focal lengths
for Alice Through the Looking Glass
were 28mm, 45mm, 55mm, 80mm
and 110mm.
Dryburgh used a full set of
spherical Arri/Zeiss Master Primes
with the F65, generally sticking to
standard and wide lenses - as wide as
16mm if they were working in a
smaller room. "I wasn't too worried
because it's a magical world," he says.
"If it looks a little distorted, that's not
such a bad thing." His favored focal
lengths were 21mm, 27mm and
40mm, though longer lenses were
occasionally employed if they were
pushing into characters' faces. In terms
of exposure, Dryburgh was generally
shooting at T4 to 5.6 on stage, and at
T2.8 to 4 on practical, low-light locations. "We also used the tried-andtrue Angenieux Optimo 24-290mm
[T2.8] zoom, especially on our B
camera," Dryburgh adds.
For previs, the production
worked with Halon Entertainment to
determine which digital enhancements were needed and what the
effects would look like. "We can do a
really fast pass of all the shots so they
can get it into the editing room and
they can see a completed sequence
with [temporary] effects," explains
Halon Entertainment supervisor Tefft
Smith II. "It's not going to be the final
pretty shots that Sony [Pictures
Imageworks, the project's principal
visual-effects vendor] ends up doing,
but it's enough to tell the story so the
[filmmakers] can understand what
action is happening and the look of
the environment Alice is in."
In cooperation with Bobin and
Dryburgh, Halon's previs process
Top: The camera is
mounted on a crane
to follow Alice
through the town
of Witzend. Middle:
The crew preps a
bluescreen scene in
which Alice
interacts with
virtual characters.
Bottom:
Wasikowska leaps
through a
bluescreen set.
92
June 2016
American Cinematographer
American Cinematographer - June 2016
Table of Contents for the Digital Edition of American Cinematographer - June 2016
Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
American Cinematographer - June 2016 - 25
American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
American Cinematographer - June 2016 - 29
American Cinematographer - June 2016 - 30
American Cinematographer - June 2016 - 31
American Cinematographer - June 2016 - 32
American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
American Cinematographer - June 2016 - 39
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American Cinematographer - June 2016 - 41
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American Cinematographer - June 2016 - 43
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American Cinematographer - June 2016 - 82
American Cinematographer - June 2016 - 83
American Cinematographer - June 2016 - 84
American Cinematographer - June 2016 - 85
American Cinematographer - June 2016 - 86
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American Cinematographer - June 2016 - 88
American Cinematographer - June 2016 - 89
American Cinematographer - June 2016 - 90
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American Cinematographer - June 2016 - 92
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