American Cinematographer - April 2014 - 53

Top: Brewster
approaches
Marshall and his
mechanics about
working on an
unfinished
Mustang.
Middle: The
custom Ford
Mustang built by
Marshall's crew
is unveiled to
potential buyers
in a special
ceremony.
Bottom: This
photo illustrates
one of the rigs
used to capture
the action in the
Mustang.
Director Scott
Waugh is
standing at
right.

sequences in the film. "We wanted our
nights to have a very polished, urban
feel, and with the C500, we saw great
detail at night - depth I've never seen
before, actually. We were able to shoot a
race starting on the outskirts of town
and heading into the city center -
about a 4½-mile stretch of asphalt
- without one Condor! In some spots
on the outskirts, we added Cobra-head
street lamps, but in most cases we'd just
send our Bucket Truck team out with
cans of Streaks-n-Tips to spray down
existing streetlights or kill every other
one to increase contrast. I would crank
the C500 to ISO 2,500 or 4,000, which
had about the same noise as the Alexa at
800 ISO. That enabled us to shoot the
action like a sequence in a play, using
just a few additional lights to create
depth. We'd shoot the full 41⁄2-mile
stretch in one take, first pulling the cars,
then pushing them, bringing in the
helmet cams and other rigs. Here and
there I'd add a touch of light, but that
was it.
"I also knew we could use the
C500 for high-speed work," he adds. "It
can do 120 fps, and when we shot that
material I didn't need to adjust my lighting; I just increased my ISO. To shoot
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April 2014

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American Cinematographer - April 2014

Table of Contents for the Digital Edition of American Cinematographer - April 2014

Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
American Cinematographer - April 2014 - 8
American Cinematographer - April 2014 - 9
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American Cinematographer - April 2014 - 11
American Cinematographer - April 2014 - 12
American Cinematographer - April 2014 - 13
American Cinematographer - April 2014 - 14
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American Cinematographer - April 2014 - 16
American Cinematographer - April 2014 - 17
American Cinematographer - April 2014 - 18
American Cinematographer - April 2014 - 19
American Cinematographer - April 2014 - 20
American Cinematographer - April 2014 - 21
American Cinematographer - April 2014 - 22
American Cinematographer - April 2014 - 23
American Cinematographer - April 2014 - 24
American Cinematographer - April 2014 - 25
American Cinematographer - April 2014 - 26
American Cinematographer - April 2014 - 27
American Cinematographer - April 2014 - 28
American Cinematographer - April 2014 - 29
American Cinematographer - April 2014 - 30
American Cinematographer - April 2014 - 31
American Cinematographer - April 2014 - 32
American Cinematographer - April 2014 - 33
American Cinematographer - April 2014 - 34
American Cinematographer - April 2014 - 35
American Cinematographer - April 2014 - 36
American Cinematographer - April 2014 - 37
American Cinematographer - April 2014 - 38
American Cinematographer - April 2014 - 39
American Cinematographer - April 2014 - 40
American Cinematographer - April 2014 - 41
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American Cinematographer - April 2014 - 43
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American Cinematographer - April 2014 - 45
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American Cinematographer - April 2014 - 53
American Cinematographer - April 2014 - 54
American Cinematographer - April 2014 - 55
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