American Cinematographer - April 2013 - 72

◗

All In

Top: Shooting In the Picture took the crew all
around Los Angeles, including stops at the Walt
Disney Concert Hall (left) and City Hall (right).
Bottom: Taking advantage of the Action Dolly,
Fisher lines up a shot in Chinatown.

blocking that was not very adventuresome, but it worked pretty well,” says
Hora. “We had people enter from both
sides of the camera into the side panels,
and the view [they were looking at] was
in the center panel. That kept us out of
a certain amount of trouble, but I wish
we had let things play and develop
within one continuous shot more
often.”
The filmmakers did manage an
occasional dolly shot thanks to “the
Action Dolly, which was loaned to us by
Randy Burgess, my former Star Trek key
grip,” says Knapp. “It has pneumatic
tires, so it’s really smooth. We put a baby
tripod on the dolly, and the points on
72

April 2013

the tripod legs could be locked into
place.” The dolly is compact enough
that it could be transported in a van, and
at most locations, the crew would build
the camera right on the dolly so that
they could simply roll the rig from one
setup to the next.
In the Picture begins at a scenic
overlook along Mulholland Drive.
After enjoying the view, the two couples
settle into a van to drive down the
winding road. To get shots of the four
passengers with the road visible through
the windshield, the camera was
squeezed into the back and propped up
on pieces of plywood so the lenses could
see above the back seat. To achieve
American Cinematographer

unobstructed POV driving shots, the
production employed a Shotmaker
camera car provided by Leo Landa.
“We also did some shots in Beverly
Hills, Santa Monica and Hollywood
out of the back of the van,” says Knapp.
“I sat in the rear passenger seat, and the
camera was on a special slider that I
built to fit in the van. It had two heavyduty slider rollers on it, so I could slide
the camera farther back than it could be
when the back door was closed.”
The driving tour brings the
couples to Griffith Park, where they
take a ride on the merry-go-round. The
Cinerama camera, set up on a tripod,
was positioned where one of the ride’s
horses happened to have been removed.
However, with the four actors, the
camera, an operator and an assistant all
on one side of the carousel, the ride was
terribly unbalanced, “so a lot of [the
crew] rode on the far side, exactly opposite the camera, to serve as ballast,” says
Hora.
“Looking out across the carousel



American Cinematographer - April 2013

Table of Contents for the Digital Edition of American Cinematographer - April 2013

American Cinematographer - April 2013
Table of Contents
Editor's Note
President's Desk
Short Takes: 7x6x2
Production Slate: War Witch • The Darkest Day
Hello, Yellow Brick Road
Hell on Wheels
All In
6 Sundance Standouts
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Christopher Baffa
American Cinematographer - April 2013 - American Cinematographer - April 2013
American Cinematographer - April 2013 - Cover2
American Cinematographer - April 2013 - 1
American Cinematographer - April 2013 - 2
American Cinematographer - April 2013 - Table of Contents
American Cinematographer - April 2013 - 4
American Cinematographer - April 2013 - 5
American Cinematographer - April 2013 - 6
American Cinematographer - April 2013 - 7
American Cinematographer - April 2013 - 8
American Cinematographer - April 2013 - 9
American Cinematographer - April 2013 - Editor's Note
American Cinematographer - April 2013 - 11
American Cinematographer - April 2013 - President's Desk
American Cinematographer - April 2013 - 13
American Cinematographer - April 2013 - Short Takes: 7x6x2
American Cinematographer - April 2013 - 15
American Cinematographer - April 2013 - 16
American Cinematographer - April 2013 - 17
American Cinematographer - April 2013 - 18
American Cinematographer - April 2013 - 19
American Cinematographer - April 2013 - Production Slate: War Witch • The Darkest Day
American Cinematographer - April 2013 - 21
American Cinematographer - April 2013 - 22
American Cinematographer - April 2013 - 23
American Cinematographer - April 2013 - 24
American Cinematographer - April 2013 - 25
American Cinematographer - April 2013 - 26
American Cinematographer - April 2013 - 27
American Cinematographer - April 2013 - 28
American Cinematographer - April 2013 - 29
American Cinematographer - April 2013 - 30
American Cinematographer - April 2013 - 31
American Cinematographer - April 2013 - 32
American Cinematographer - April 2013 - 33
American Cinematographer - April 2013 - 34
American Cinematographer - April 2013 - 35
American Cinematographer - April 2013 - Hello, Yellow Brick Road
American Cinematographer - April 2013 - 37
American Cinematographer - April 2013 - 38
American Cinematographer - April 2013 - 39
American Cinematographer - April 2013 - 40
American Cinematographer - April 2013 - 41
American Cinematographer - April 2013 - 42
American Cinematographer - April 2013 - 43
American Cinematographer - April 2013 - 44
American Cinematographer - April 2013 - 45
American Cinematographer - April 2013 - 46
American Cinematographer - April 2013 - 47
American Cinematographer - April 2013 - 48
American Cinematographer - April 2013 - 49
American Cinematographer - April 2013 - 50
American Cinematographer - April 2013 - 51
American Cinematographer - April 2013 - Hell on Wheels
American Cinematographer - April 2013 - 53
American Cinematographer - April 2013 - 54
American Cinematographer - April 2013 - 55
American Cinematographer - April 2013 - 56
American Cinematographer - April 2013 - 57
American Cinematographer - April 2013 - 58
American Cinematographer - April 2013 - 59
American Cinematographer - April 2013 - 60
American Cinematographer - April 2013 - 61
American Cinematographer - April 2013 - 62
American Cinematographer - April 2013 - 63
American Cinematographer - April 2013 - All In
American Cinematographer - April 2013 - 65
American Cinematographer - April 2013 - 66
American Cinematographer - April 2013 - 67
American Cinematographer - April 2013 - 68
American Cinematographer - April 2013 - 69
American Cinematographer - April 2013 - 70
American Cinematographer - April 2013 - 71
American Cinematographer - April 2013 - 72
American Cinematographer - April 2013 - 73
American Cinematographer - April 2013 - 74
American Cinematographer - April 2013 - 75
American Cinematographer - April 2013 - 76
American Cinematographer - April 2013 - 77
American Cinematographer - April 2013 - 78
American Cinematographer - April 2013 - 79
American Cinematographer - April 2013 - 6 Sundance Standouts
American Cinematographer - April 2013 - K1
American Cinematographer - April 2013 - K2
American Cinematographer - April 2013 - K3
American Cinematographer - April 2013 - K4
American Cinematographer - April 2013 - K5
American Cinematographer - April 2013 - K6
American Cinematographer - April 2013 - K7
American Cinematographer - April 2013 - K8
American Cinematographer - April 2013 - K9
American Cinematographer - April 2013 - K10
American Cinematographer - April 2013 - K11
American Cinematographer - April 2013 - K12
American Cinematographer - April 2013 - 81
American Cinematographer - April 2013 - 82
American Cinematographer - April 2013 - 83
American Cinematographer - April 2013 - 84
American Cinematographer - April 2013 - 85
American Cinematographer - April 2013 - 86
American Cinematographer - April 2013 - 87
American Cinematographer - April 2013 - 88
American Cinematographer - April 2013 - 89
American Cinematographer - April 2013 - 90
American Cinematographer - April 2013 - 91
American Cinematographer - April 2013 - 92
American Cinematographer - April 2013 - 93
American Cinematographer - April 2013 - 94
American Cinematographer - April 2013 - 95
American Cinematographer - April 2013 - 96
American Cinematographer - April 2013 - 97
American Cinematographer - April 2013 - 98
American Cinematographer - April 2013 - 99
American Cinematographer - April 2013 - 100
American Cinematographer - April 2013 - 101
American Cinematographer - April 2013 - 102
American Cinematographer - April 2013 - 103
American Cinematographer - April 2013 - New Products & Services
American Cinematographer - April 2013 - 105
American Cinematographer - April 2013 - 106
American Cinematographer - April 2013 - 107
American Cinematographer - April 2013 - 108
American Cinematographer - April 2013 - 109
American Cinematographer - April 2013 - 110
American Cinematographer - April 2013 - 111
American Cinematographer - April 2013 - 112
American Cinematographer - April 2013 - 113
American Cinematographer - April 2013 - International Marketplace
American Cinematographer - April 2013 - Classified Ads
American Cinematographer - April 2013 - Ad Index
American Cinematographer - April 2013 - 117
American Cinematographer - April 2013 - Clubhouse News
American Cinematographer - April 2013 - 119
American Cinematographer - April 2013 - ASC Close-Up: Christopher Baffa
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