—tobias schliessler (cinematographer)
the film director of photography tobias schliessler s fifth collaboration berg, berg s first film shot digital cinematography. schliessler intended shoot film arri alexa cameras, instead used red epic digital cameras, using fujinon , angénieux lenses; schleissler chose red epic camera due compact size , lightweight body.
during film s pre-production, schliessler inspired british-american photojournalist tim hetherington s war photography book infidel, details single u.s. platoon assigned outpost in korengal valley during war in afghanistan. book s images became guide creating overall of film after schliessler had shown them berg, art , costume departments. prior filming, schleissler , berg shot test footage digital cameras , brought digital colorist stefan sonnenfeld @ post-production facility company 3 color grading.
the santa fe national forest s rocky terrain , steep inclines proved difficult conventional camera equipment—such cranes , dollies—which resulted in of film s scenes being shot camera operators, rigged aerial ski lifts above action. location picked on top of ski area above 12,000 feet in santa fe, , high altitude made extremely physically demanding , schleissler explained. our equipment had hand-carried of our remote locations, meant had limit ourselves bare minimum…no 1 ever hiked set empty-handed, including our producers. 1 big team effort made close film family.
digital cinema post-production facility deluxe supplied production 40-foot trailer, known ec3 (a joint venture between company 3 , efilm). equipment enabled schleissler overlook every shot of film in ec3 trailer. collaborated colorist adrian delude in changing exposure cameras used which, according schliessler, have been more difficult when shooting on film. digital imaging technician jeff tomcho tasked ensuring red epic cameras set , capturing filmed footage. company 3 carried out digital intermediate.
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