American Cinematographer - April 2014 - 60
◗
Top Gear
Hurlbut settles in behind Scott Mescudi (as Benny) inside a Cessna airplane.
15.5-47mm T2.8, and Hurlbut used
three full sets of Cooke S4 primes. "I
wanted a prime set with as many focal
lengths as I could get," he says. "With
the three sets of S4s, we could do six cars
at a time, and the variations in focal
lengths were the difference between
being able to do the camera position we
wanted or not. When you're in really
tight quarters, sometimes a shot will
work with a 21mm but not a 25mm, and
if I'd had only a 25mm, I would have
had to move the camera to a different
position or go outside the windshield.
Scott and I really wanted to keep the
camera in the car.
"If I'd had to slide the camera to
the side for a longer focal length, it
would have taken the camera out of the
actor's eyes, and that would have meant
less emotional connection," he adds.
"Just 4mm can be all the difference in
the world between being right in the
actor's eyes or in a three-quarter profile.
We'd embed three cameras in the car at
the same time so we could get close-up,
low angle and wheel-well shots all at
once."
The production recorded Canon
Raw and ArriRaw to Codex S recorders.
(The C500 doesn't have a built-in
recorder.) The 1DCs recorded 4K 7:1
compression motion-JPEG to Compact
Flash cards.
To get the audience even closer
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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
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