American Cinematographer - April 2014 - 54
◗
Top Gear
Top: The crew
employs a Russian
Arm for a scene in
which Marshall must
refuel without
stopping. Middle:
Steadicam operator
Jodi Miller flies the
Canon C500 at the
Intercontinental
Hotel in San
Francisco while key
1st AC Darin
Necessary pulls
focus. Bottom: The
Mustang is mounted
to a ShotBuster
insert camera car in
Moab, Utah for
dialogue scenes. Jab
LED lights are
mounted to the front
of the car for
daylight fill.
high speed on film in the old days, we
had to light everything for 120 fps, scrim
down for 24 fps, and then pull out the
scrims to shoot high speed. But with the
C500, we lit it at 1,600 ISO at T2.5, and
when we went to 120 fps, I just increased
to 4,000 ISO."
Hurlbut notes that 4,000 ISO is "a
little noisy" for his taste, but he knew
Need for Speed 's post work would include
Cinnafilm's Dark Energy image processing, which he had used on Act of Valor.
"Dark Energy just vaporizes digital noise
and compression artifacts in the image,
and it did a great job of cleaning up the
5D footage on Act of Valor," he observes.
"We did a Dark Energy pass on the
entire movie this time, removing the digital noise and then going back and adding
film-grain texture that feels organic and
burned in."
No matter how good, every new
technology involves growing pains, and
using the C500 as the A camera on a
major feature production was no different, according to Hurlbut. "The camera
was released about two months before we
tested it," he recalls. "It looked like a
Hasselblad - no electronic viewfinder to
speak of, and it was really not set up like
a film camera. We tested all the third54
April 2014
American Cinematographer
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
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