American Cinematographer - March 2016 - 16

Top: At a diner, a
shady "scout" (Paul
Arthaud) explains
the malevolent
goals of his
employer. Middle:
Co-director
Alexander Maxwell
(left) and
co-director/
cinematographer
Alexander Hankoff
prep the diner
scene. Bottom:
During the climactic
race, one of the
cars somersaults
through the air.

GoPros down and pray to the race gods that
the cameras would stay on - recordingwise and physically," says Hankoff, who shot
the GoPros at 2.7K resolution, recording to
SanDisk Ultra 64GB microSD cards. "We
had the GoPro app for triggering the recording on all cameras simultaneously, but it
16

March 2016

would cut out due to the distance from the
pits to the track, so we couldn't monitor
remotely. There was really no way of knowing what we were getting until after the
race. It was nerve-wracking."
Hankoff's own Red Epic served as
Yellow's A-camera, recording full-frame 5K
American Cinematographer

at 5:1 compression to 512GB Red MiniMags for a 2.39:1 crop in post. He paired
the Epic with 16-42mm and 30-80mm
Angenieux Optimo DP Rouge (T2.8) zoom
lenses. "Given the run-and-gun aesthetic
we implemented due to budget and time
restrictions, [the zooms] allowed me to set
up my shots quickly," Hankoff says. "I only
had one AC for most of the shoot, so we
didn't have support to run prime lenses
back and forth. Also, given the nature of
the track and how dusty and dirty it was,
we didn't really want to expose the sensor
to that environment if we could help it."
The dust did, however, lend what
Hankoff calls a "magical" effect when
photographed through on-camera filtration, which on Yellow included Schneider
Classic Soft and Hollywood Black Magic
filters and Tiffen Black Pro-Mist. "I never
went above ¼ with the filtration because
the atmosphere created a lot of diffusion on
its own," Hankoff explains. "Because of the
dust that gets kicked up in the air, there's
this fine, mist-like quality. Pushing that a
little bit further by using some mist filters
created a beautiful, soft glow that I really
liked."
In addition to the GoPros and the
Red Epic, a Red Scarlet MX and a trio of
Canon EOS 5D Mark III DSLRs were
employed during the race sequences.
Recording at 2K to 128GB RedMags, the
Scarlet picked off long-lens shots from the
center of the track with a Canon L-series
100-400mm (f4.5-5.6) zoom. The 5Ds -
which recorded at 1920x1080 to SanDisk
Extreme CF cards - sported Canon L-series



Table of Contents for the Digital Edition of American Cinematographer - March 2016

Table of Contents
American Cinematographer - March 2016 - Intro
American Cinematographer - March 2016 - Cover1
American Cinematographer - March 2016 - Cover2
American Cinematographer - March 2016 - 1
American Cinematographer - March 2016 - 2
American Cinematographer - March 2016 - Table of Contents
American Cinematographer - March 2016 - 4
American Cinematographer - March 2016 - 5
American Cinematographer - March 2016 - 6
American Cinematographer - March 2016 - 7
American Cinematographer - March 2016 - 8
American Cinematographer - March 2016 - 9
American Cinematographer - March 2016 - 10
American Cinematographer - March 2016 - 11
American Cinematographer - March 2016 - 12
American Cinematographer - March 2016 - 13
American Cinematographer - March 2016 - 14
American Cinematographer - March 2016 - 15
American Cinematographer - March 2016 - 16
American Cinematographer - March 2016 - 17
American Cinematographer - March 2016 - 18
American Cinematographer - March 2016 - 19
American Cinematographer - March 2016 - 20
American Cinematographer - March 2016 - 21
American Cinematographer - March 2016 - 22
American Cinematographer - March 2016 - 23
American Cinematographer - March 2016 - 24
American Cinematographer - March 2016 - 25
American Cinematographer - March 2016 - 26
American Cinematographer - March 2016 - 27
American Cinematographer - March 2016 - 28
American Cinematographer - March 2016 - 29
American Cinematographer - March 2016 - 30
American Cinematographer - March 2016 - 31
American Cinematographer - March 2016 - 32
American Cinematographer - March 2016 - 33
American Cinematographer - March 2016 - 34
American Cinematographer - March 2016 - 35
American Cinematographer - March 2016 - 36
American Cinematographer - March 2016 - 37
American Cinematographer - March 2016 - 38
American Cinematographer - March 2016 - 39
American Cinematographer - March 2016 - 40
American Cinematographer - March 2016 - 41
American Cinematographer - March 2016 - 42
American Cinematographer - March 2016 - 43
American Cinematographer - March 2016 - 44
American Cinematographer - March 2016 - 45
American Cinematographer - March 2016 - 46
American Cinematographer - March 2016 - 47
American Cinematographer - March 2016 - 48
American Cinematographer - March 2016 - 49
American Cinematographer - March 2016 - 50
American Cinematographer - March 2016 - 51
American Cinematographer - March 2016 - 52
American Cinematographer - March 2016 - 53
American Cinematographer - March 2016 - 54
American Cinematographer - March 2016 - 55
American Cinematographer - March 2016 - 56
American Cinematographer - March 2016 - 57
American Cinematographer - March 2016 - 58
American Cinematographer - March 2016 - 59
American Cinematographer - March 2016 - 60
American Cinematographer - March 2016 - 61
American Cinematographer - March 2016 - 62
American Cinematographer - March 2016 - 63
American Cinematographer - March 2016 - 64
American Cinematographer - March 2016 - 65
American Cinematographer - March 2016 - 66
American Cinematographer - March 2016 - 67
American Cinematographer - March 2016 - 68
American Cinematographer - March 2016 - 69
American Cinematographer - March 2016 - 70
American Cinematographer - March 2016 - 71
American Cinematographer - March 2016 - 72
American Cinematographer - March 2016 - 73
American Cinematographer - March 2016 - 74
American Cinematographer - March 2016 - 75
American Cinematographer - March 2016 - 76
American Cinematographer - March 2016 - 77
American Cinematographer - March 2016 - 78
American Cinematographer - March 2016 - 79
American Cinematographer - March 2016 - 80
American Cinematographer - March 2016 - 81
American Cinematographer - March 2016 - 82
American Cinematographer - March 2016 - 83
American Cinematographer - March 2016 - 84
American Cinematographer - March 2016 - 85
American Cinematographer - March 2016 - 86
American Cinematographer - March 2016 - 87
American Cinematographer - March 2016 - 88
American Cinematographer - March 2016 - Cover3
American Cinematographer - March 2016 - Cover4
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