American Cinematographer - April 2014 - 59

required a camera crew the size of a
small army, but Hurlbut notes that the
production "started with 13 camera
assistants and actually found that was
more than we needed, so we cut down
to 11. We basically had all of the
cameras pre-rigged for anything we
might need. We had cameras rigged for
handheld or crane or car mounts, all
ready to go at a moment's notice. I
divvied the assistants up: one was
helmet cam and GoPros, one was
responsible for studio-mode rigs, one
dealt with all the crash cams, one was
assigned to action cameras on the
Russian Arm, and so on."
As with any production, stunt
sequences required more cameras to
cover the action. But on this production,
"more" typically meant 28 to 30 cameras
all rolling on a single stunt. There are no
computer-generated cars in Need for
Speed, no greenscreen process-car
driving shots, and no CGI stunts.
However, CGI was used to put the
actors behind the wheel in dangerous
sequences, and all of the camera rigging
on the cars involved in stunts had to be
painted out. "We didn't do a stunt more
than once," recalls Hurlbut. "We would
rig as many cameras as we could and
cover it from numerous positions. The
real CG work was painting out cameras
and rigs - and occasionally us - but
all the stunts and all the driving are real."
On a major stunt, Hurlbut
assigned the cameras that were to be
operated to A-camera action operator
Chris Moseley and A-camera/
Steadicam operator Jodi Miller, and
there were typically up to 30 more in
fixed positions. Second-unit cinematographer Michael "Billy Goat" Svitak was
"the guy we'd send up a hill or down the
road to get the bigger shots," says
Hurlbut. "He had a splinter van, and
we'd deploy him to get the more remote
coverage. They all did an amazing job."
Lead actor Paul did most of
his own driving stunts, after training
with professional performance-driving
instructor Rick Seaman at Willow
Springs International Speedway.
"Seaman said Aaron was a natural," says

Hurlbut, "and when our stunt coordinator, Lance Gilbert, saw Aaron's driving,
he said, 'Okay, we're putting him in the
car!'"
Because so many scenes take
place in cars, Hurlbut had specially
designed windows installed that did not
have a trace of tinting. "These were all
very high-end cars, which meant that
custom windows had to be created by
hand - there are no real third-party

parts for them," he says. "We needed all
the natural light we could get in the cars
to really see the actor in the driver's
seat."
Though Hurlbut did all of his
camera tests with Panavision Primo
lenses, budgetary considerations led the
production to shoot with a mix of
Canon Cinema and Cooke S4 lenses.
The Canons were zooms, a 14.5-60mm
T2.6, a 30-300mm T2.95-3.7 and a



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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
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American Cinematographer - April 2014 - 9
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