{"id":2340,"date":"2012-12-10T10:58:30","date_gmt":"2012-12-10T18:58:30","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2340"},"modified":"2014-05-29T19:52:39","modified_gmt":"2014-05-29T19:52:39","slug":"what-the-frack","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/what-the-frack\/","title":{"rendered":"What the Frack?"},"content":{"rendered":"

Linus Sandgren explores Hawk anamorphic lenses for Gus Van Sant\u2019s timely new drama Promised Land<\/em><\/strong><\/p>\n

Not to be confused with the Battlestar Galactica<\/em> expletive, \u201cfrak\u201d and \u201cfracking\u201d are both monikers for hydraulic fracturing. High-pressure, chemically laden water is pumped into rock formations to release reservoirs of petroleum and natural gas. It was first employed in 1947, and a recent series of small earthquakes in Dallas is being blamed by some geophysicists on fracking. In the national race to become more energy self-sufficient, fracking is causing ever-greater confrontations between drillers and environmentalists concerned with ground water contamination, air quality risks and surface contamination from backflow.<\/p>\n

The timely human drama at the heart of this controversial process serves as the catalyst for maverick director Gus Van Sant\u2019s latest film, Promised Land<\/em>, from Focus Features. Shot outside Pittsburgh, in communities such as Apollo and West Mifflin, the project was co-written by the film\u2019s stars, Matt Damon and John Krasinski, and shot by Swedish-born cinematographer Linus Sandgren, here working with Van Sant for the first time.<\/p>\n

Damon plays corporate salesman Steve Butler, who arrives <\/strong>in a rural town with his sales partner, Sue Thomason (played by Frances McDormand). Like many small towns, this one has been hit hard by the economic meltdown, and Butler and Thomason are eager to lease drilling rights from the citizens. All seems fine until respected schoolteacher Frank Yates (played by Hal Holbrook) and Dustin Noble (John Krasinski) launch a grassroots campaign to prevent the company from drilling in their town.<\/p>\n

Topical contemporary issues and dramatic tension are the stuff at which Van Sant (Milk<\/em>, Elephant<\/em>, Goodwill Hunting<\/em>, To Die For<\/em>, Drugstore Cowboy<\/em>) excels. He and Sandgren (Shelter<\/em>, Snapphanar<\/em> and Storm<\/em>) opted to shoot on film. \u201cGus wanted to capture the people and farmland authentically,\u201d Sandgren explains. \u201cHe\u2019s also fond of the Leica camera, as well as large-format photography. He walks around with a digital Leica camera.<\/p>\n

\u201cAs we were talking about the look,\u201d Sandgren continues, \u201cwe came across these reportage stills, shot on 135mm cameras with Kodachrome by photographers like Steve McCurry, Mitch Epstein and Eve Arnold. We also looked at photographs from farmland America shot on 4×5 film cameras and Kodachrome stock, which comes out in a sort of silver enhanced contrasty way, but still carries all highlights and keeps the blacks dense but soft.\u201d<\/p>\n

\"\"<\/a><\/p>\n

The trick then became how to recreate such a specific look on-screen. Sandgren recalled testing the Vantage\u2019s 1.3x lenses with the ALEXA 16×9, for another feature film, and began wondering about using the 1.3x Hawk anamorphic lenses with Super 35.<\/p>\n

\u201cThese new 1.3x lenses were developed to either convert 3-perf or digital 1.78:1 to a 2.39:1 release, or 4-perf or digital 1.33:1 to 1.78:1 release,\u201d he explains. \u201cI did the calculations and found that by shooting 4-perf Super 35, in a squeezed ratio of 1.42:1, we would utilize 435 square millimeters of the negative versus 1.85:1 Academy format at 258 square millimeters. Even though the print eventually became 1.85:1, we still captured 70-percent higher detail versus working completely analog.<\/p>\n

\u201cWe talked to Vantage Film and ended up renting all camera equipment from them because they had those 1.3x V-lite anamorphic lenses, the viewfinder and everything including the Arricam STs and LTs we used,\u201d he adds. \u201cWe then did various tests on film stocks and ended up using the Fuji Vivid because it revealed many different colors than Kodak, and captured more from the environment that I felt would be useful in the DI. It would be nice to have all the colors of Kodachrome. But I thought the Vivid 250 Daylight, which was our main stock, was more like the old school of film. It was interesting to see the tests down at Technicolor: we tried to make the Kodak look like Fuji and couldn\u2019t find them without decreasing the other colors; we couldn\u2019t separate them. We also shot the Fuji Vivid 500 and on F64 Vivid Daylight. Basically the entire film is also pulled one stop in order to get closer to the desired Kodachrome look.\u201d<\/p>\n

When it came to movement and composition, Van Sant suggested<\/strong> they watch the work of Vittorio Storaro, ASC, AIC, and Bernardo Bertolucci, specifically Luna<\/em> and The Spider\u2019s Stratagem<\/em>. What stood out was that the camera moved a lot but only when the actors moved. Upon further investigation, they discovered that Storaro used an Italian Elemack Cricket dolly with an Elemack jib.<\/p>\n

\u201cLinus found one at an auction and bought it cheap,\u201d explains key grip Bart Flaherty. \u201cWe did have to scrounge some parts to make it work. The arm itself was smooth, and the moves were great, but the dolly ran on steel track, and you could hear it. So we tried to get the track as level as we could, and we used a lot of Steeldeck. We had about 200 feet of track on hand.\u201d<\/p>\n

\"\"<\/a><\/p>\n

\u201cI had never seen a dolly like that,\u201d adds B-camera 1st AC Norris Fox. \u201cIt was tiny and had a jib arm on it. They would set up long stretches of track and swing around for some amazing shots.\u201d<\/p>\n

A-camera 1st AC Jorge Sanchez says he felt like he was shooting \u201cthe way they made films 20 years ago. The Cricket dolly didn\u2019t have a remote head; there was only room for one person on the crane. It was an interesting way to go.\u201d<\/p>\n

As was the decision not to employ monitors on the set. \u201cGus asked, \u2018Can you trust your operator [Davon Slininger had worked with Sandgren on many commercials] on B camera if we shoot without monitors?\u2019\u201d Sandgren remembers. \u201cI said, \u2018Yeah, can you trust me on A?\u2019 Gus was great and said, \u2018We won\u2019t worry about it. It\u2019ll be like the old days where we see it in the dailies. If it\u2019s bad, we\u2019ll reshoot it.\u2019 We didn\u2019t tell the producers about that part, but we did feel confident in what we were doing.\u201d<\/p>\n

\u201cGus didn\u2019t want monitors on the camera either,\u201d Sanchez confirms, \u201cwhich shaved two hours off of every day. There\u2019s no going back, watching it, saying, \u2018Oh, let\u2019s do this.\u2019 It was \u2018We got it; let\u2019s move on.\u2019\u201d<\/p>\n

\u201cIt involved an incredible amount of trust, and I am amazed at how well that worked out,\u201d Slininger continues. \u201cI had to have trust in Norris, and Linus had to have trust in me. We would shoot a take and Gus would say, \u2018Did you get it?\u2019 And I\u2019d say, \u2018Yeah, I think so,\u2019\u201d he laughs. \u201cIt was awkward at first. But toward the end of the first week everybody started getting into the rhythm of it. Nobody was hovering around the monitors; they would just come to set and evaluate what they had to do to make it work.\u201d<\/p>\n

\"\"<\/a><\/p>\n

B-camera 2nd AC Deb Peterson agrees about the level of trust, adding, \u201cToward the end of the schedule, we were going to shoot Hal Holbrook\u2019s monologue on the front porch of a farm house, as the sun is going down just below the trees. We wanted the light to be right, and there was only a short window. The crew set everything up and we just waited, which is very unusual. Normally you\u2019d shoot a couple times before the light was right. But they didn\u2019t want to jeopardize the performance. It takes a lot of confidence to wait and know that everything will come together.\u201d<\/p>\n

As with all of his films, Van Sant did not work from storyboards<\/strong> or rigid shot or camera move lists. The actors would arrive on set, walk through a scene hitting what they considered to be marks, and he or Sandgren would make adjustments. While the cast went to make-up, the crew would rig the lights and lay the dolly track.<\/p>\n

\u201cEvery other film I\u2019ve worked on was storyboarded and felt like you\u2019re working to create the images of what you have already decided to do,\u201d Sandgren describes. \u201cGus\u2019s way is much more organic and spontaneous, and everybody has to step up. While you\u2019re watching the actors rehearsing, you realize \u2018Wow, this would be great from that angle.\u2019 You would lose that if you were locked into a storyboard.\u201d<\/p>\n

This unorthodox approach, which underscores Van Sant\u2019s unique station as an art-film director sojourning in Hollywood, did not present problems for gaffer Patrick Murray.<\/p>\n

\u201cYou always need to have some flexibility anyway, because when you get there the director may have ideas,\u201d Murray recalls. \u201cA lot of the shots were daytime shots, and our lighting for those scenes would be through the windows and establishing different times of day with direction through the windows and color.\u201d<\/p>\n

\"\"<\/a><\/p>\n

One of the more challenging was a night exterior of an entire street. \u201cOur concept was not to do a traditional backlight \u2013 a Condor-assisted street scene with blue moonlight everywhere,\u201d Murray continues. \u201cWe wanted it to look like the lighting was coming more from the actual streetlights, a mix of sodium vapor and mercury, onto the buildings that required a much larger cabling job than normal so that we could augment the look of the light coming from the streetlights.\u201d<\/p>\n

It actually ended up needing a reshoot [due to a script change], and the challenge then became to rig the street like it had been on the earlier night. \u201cI can\u2019t say enough about my [Pittsburgh-based] crew,\u201d Murray continues. \u201cI would take them anywhere in the world. Half of them, or more, were also members of Local 728 in Los Angeles, and went back home to work in Pittsburgh, which is a pretty thriving film community now.\u201d<\/p>\n

1st AD David J. Webb has worked frequently with Van Sant since To Die For<\/em>. He revealed another aspect of the filmmaker\u2019s method, which always strives for authenticity.<\/p>\n

\u201cOne thing that is immensely important to Gus is that it is not a lie with the extras,\u201d Webb explains. \u201cIf it\u2019s the Castro [District] in Milk<\/em>, you cast locals and make sure their hair grows out. So much of the authenticity in Milk<\/em> is in the atmospheric work. Same thing in Promised Land<\/em>. In the rural areas, the extras are all locals from the community. They\u2019re curious and have no pre-conceived baggage, so they just act like themselves. It\u2019s wonderful.\u201d<\/p>\n

And what about the authenticity of the Kodachrome-inspired look?<\/p>\n

\"\"<\/a><\/p>\n

\u201cWhat we found was that there was a lot of contrast already,\u201d says MPC LA colorist Mark Gethin, who has worked with Sandgren on a number of commercials. \u201cSo a lot of what we did in the DI was to soften the blacks and make sure the whites weren\u2019t too harsh. The exteriors we had to treat differently because of the colors of the countryside. We kept the saturation more than we would have for the indoor scenes. A lot of the interiors we desaturated because of the natural contrast of the film. It was really just making the image softer.\u201d<\/p>\n

Using DaVinci Resolve, Gethin said they used every moment of the two-week finish to ensure the audience would see the entire range of colors in the movie. \u201cWe deliberately tried to make it look like film, if that makes sense,\u201d Gethin adds. \u201cSo often you see shots that are blown out or crushed, but with the lenses Linus used you can see so much detail there. So it was really a case of preserving that. It was a really cool project.\u201d<\/p>\n

Cool indeed. All interviewed said Promised Land<\/em> was one of the most laid-back shows they\u2019d ever worked on, particularly for one backed by a major studio.<\/p>\n

\u201cWhat was interesting,\u201d Sandgren concludes, \u201cis that on many productions, you end up over-working things. You board shots in advance and you spend time looking for those boarded shots on location. You play it back on set, over-analyze and try something else. Gus, on the other hand, likes to build a location for a character; leave the set for actors to live in. Then he encourages us all to trust our instincts and figure out things as we go. And that makes everything both focused and spontaneous, as you prep and shoot. And when you see the final film, you realize how much time and energy was won and you understand how much of creating [a film] is actually instinct.\u201d<\/p>\n

by<\/em>\u00a0<\/em>Ted Elrick \/\u00a0photos by<\/em>\u00a0<\/em>Scott Green<\/p>\n","protected":false},"excerpt":{"rendered":"

Linus Sandgren explores Hawk anamorphic lenses for Gus Van Sant\u2019s timely new drama Promised Land<\/p>\n","protected":false},"author":1,"featured_media":3386,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[87,89,37,86,88],"class_list":["post-2340","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-gus-van-sant","tag-hawk-anamorphic","tag-icg-magazine","tag-linus-sandgren","tag-promised-land-cinematography"],"acf":[],"yoast_head":"\nWhat the Frack? - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/what-the-frack\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What the Frack? 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