American Cinematographer - February 2015 - 37
Lighting diagram by Benoit Richard, courtesy of Rick Thomas.
so we could position the work and do it
safely. We had four cameras on buildings
that were able to get some shots with
longer lenses, but [the sequence
comprises] primarily aerial footage and
visual effects."
Although the times would vary
depending on the specific action on the
call sheet, certain crew might arrive on
location as early as 1 a.m., and by 2:30 the
requisite PAs - who totaled more than
200 some mornings - could be reporting for duty alongside a police presence of
approximately 40 officers. The streets
would be given a wet-down around 3:15
a.m., the same time the rooftop camera
crews began to set up. A safety meeting
would happen shortly after 4, and a "test
hang" was executed with the stunt chopper, piloted by aerial coordinator Cliff
Fleming, and stunt performers Michaela
Facchinello ( Jupiter) and Antal Kalik
(Caine) 15 minutes on the dot before
"action" was called.
"It was such a narrow window of
shooting time that it was tricky to make
the call when the choppers should lift
off," Toll notes. "Too early and Mickey
and Antal would be hanging on wires
several hundred feet off the ground
'waiting for the light'; too late and we
would limit our shooting window.
Cloud cover on the individual shoot
days also affected this, so there was a
certain amount of seat-of-the-pants
guesswork involved. But based on the
light studies we had shot our first week
in Chicago, we had it down pretty well."
"I'd be lying if I said I wasn't a
little apprehensive that first morning,
dropping in between the buildings with
just the slightest bit of light in the sky,"
Pastuhov recalls. "It was like dropping
into a black hole, with no margin for
error. I was framing, zooming, pulling
focus, talking to the [camera-helicopter] pilot, Craig Hosking, who was
next to me, and Lana and Andy, who
were in the back the whole time. I was a
very busy guy." Shooting with a Fujinon
Premier 18-85mm zoom on the Alexa,
which was rigged in a Pictorvision
Eclipse gyro-stabilized aerial mount,
Pastuhov says he shot the chase footage
around a T2.3.
In addition to the live-action
stunt photography, the Shadow Chase
called for extensive aerial plates, most of
which were shot with what the production dubbed the "Panocam," a customdesigned camera array made up of six
Red Epics, rigged three across and two
high, in a modified Pictorvision Eclipse.
(Pictorvision now brands the Panocam
system as the Eclipse Multicam Array.)
When stitched together in post, the six-
This diagram illustrates the lighting that was necessary for the action at Lake and Wells, where the crew rigged Par cans
and sodium-vapor units for blocks in every direction from the intersection.
www.theasc.com
February 2015
37
http://www.theasc.com
American Cinematographer - February 2015
Table of Contents for the Digital Edition of American Cinematographer - February 2015
Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
American Cinematographer - February 2015 - 59
American Cinematographer - February 2015 - 60
American Cinematographer - February 2015 - 61
American Cinematographer - February 2015 - 62
American Cinematographer - February 2015 - 63
American Cinematographer - February 2015 - 64
American Cinematographer - February 2015 - 65
American Cinematographer - February 2015 - 66
American Cinematographer - February 2015 - 67
American Cinematographer - February 2015 - 68
American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
American Cinematographer - February 2015 - 75
American Cinematographer - February 2015 - 76
American Cinematographer - February 2015 - 77
American Cinematographer - February 2015 - 78
American Cinematographer - February 2015 - 79
American Cinematographer - February 2015 - 80
American Cinematographer - February 2015 - 81
American Cinematographer - February 2015 - 82
American Cinematographer - February 2015 - 83
American Cinematographer - February 2015 - 84
American Cinematographer - February 2015 - 85
American Cinematographer - February 2015 - 86
American Cinematographer - February 2015 - 87
American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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