Terror on the Prairie (English version)

From a stylistic standpoint, we adopt the codes of the genre: cinemascope and open landscapes.
The camera package included an Alexa Mini and an XT plus (as a backup and B camera).

I wanted at all costs, to avoid the digital look so I went with the Xelmus Apollo Anamorphics and the 10:1 Angenieux HR with a rear anamorphosis) modern design but vintage look.

A 3 week prep on site, a good work with the art department to ensure that, despite the desire of a "constraining" cabin (size and period accuracy), we can work quickly and efficiently.
We have built a leveled floor with plywood ready to receive a dolly without tracks; and the ceiling was ready for baby pins to hang our LED panels or tubes if necessary.

We designed the layout of windows and the exposure of the cabin with a Sunseeker to ensure the sun in the axis of the front door at sunset, as well as a north-south exposure of the side windows to keep a constant level for interiors.

During prep we set color codes for the family (good guys) and the outlaws (bad guys) with Pantone refs for each clan that went to the art department and wardrobe.
And conceptualized the idea that the "villains" are static and unshakable while the heroine is unstable and in tracking shots.
The film was shot as many as possible in story order so that the set evolves without having to reset and destroy elements.
Starting with little or no movement and a contemplative rhythm before the rebels arrive. Then more frantic and always in motion.

The interiors cabin were extremely complex because we shot in a real log cabin built.
So no retractable walls and an extremely limited space.
To add to the constraints when Hattie barricades herself inside her gradually closes all shutters...

The main camera was mounted on a Ronin 2 with primes (Xelmus anamorphic).

Most of the time used as a remote head (which kept us safe with gunfire too) on the dolly (Fisher 11) I operated with the Alpha Wheels next to the director to get notes and comments live.
The B camera was equipped with the zoom (Angenieux 10:1). And was used for tighter shots and long lenses.

The lighting package was 2x Arri M9 HMI, 2x M18, a set of Asteras titan and 4 x Litemate 4.

There aren’t many crews in Montana. We checked all the available options with the line producer and brought the camera crew from Los Angeles, the gaffer from Atlanta and found Local grips.

Instead of a DIT (to download and transfer proxies for the edit) we went for an assistant editor onset with staggered schedules.
He was not used to Resolve, nor to managing LUTs but after a week, everything was set up and reliable.

The camera equipment came from Camtec L.A, the lighting and grip package from Salt Lake City.