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SHOOT STORY MAMMA MIA 2
it’s easy to use and I prefer the image to other digital cameras. As I knew we would often be shooting ‘three shots’, I chose the widescreen 2.40 format so I could more easily accommodate getting three actors in the frame. Anamorphic lenses have a distinct magical quality to them so I chose to go that route (also the first Mamma Mia! was shot on anamorphic). “After extensive testing, we settled on the ARRI Master Anamorphic lenses. I liked the fact that they held sharp focus all the way across and I didn’t want our middle actor sharp and the other two slightly blurry. I generally preferred the 50mm and 75mm, but other lenses were also used. I used no filtration on the camera, the only filters were neutral densities and grads and an occasional polarizer. I rated the ALEXA at 800 ASA. My DIT on set was Ben Appleton and I worked with him at the start of each day to set a look and Ben would keep it consistent throughout. “I worked with Jill Bogdanowicz at Company 3 in Los Angeles for the final colour timing. Jill has a great eye and brought a lot to this process. We often raised the colour saturation from what was originally shot, particularly giving the sea a deep saturation of blue to add to the magic of the story.”
ANAMORPHIC LENSES HAVE A DISTINCT MAGICAL QUALITY TO THEM
IMAGES The all-star cast from the original movie returns for this singing and dancing extravaganza, but this time Cher gatecrashes the baby celebrations to steal the show as Sophie’s (Amanda Seyfried) grandmother.
DEFINITION AUGUST 2018
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