American Cinematographer - April 2015 - 97

the time. I loved the images it produced, but
in my estimation the camera was not ready
for the rigors of production - we experienced a lot of "record errors" where the
camera would shut down any time there
was vibration or even gunfire. The Red
system has since come a long way, and I
have to say shooting with the Epic has been
a very good experience. Our lenses include a
full set of Arri/Zeiss Ultra Primes, as well as
18-80mm and 45-250mm Arri/Fujinon
Alura zooms (both T2.6), which live on the B
camera. I rate the cameras at 640 ISO and
generally leave it there for all interior and
exterior work; for some night scenes I will
push it as far as 1,280, but I find it too noisy
beyond that.
We've also utilized Nikon D800 and
D810 DSLRs for numerous shots. In one
instance, we shot a Civil War flashback
sequence with a DSLR and a 35mm Lensbaby for a swing-shift look. These cameras
are especially useful for squeezing into
places where our production cameras might
not fit, or where it's too dangerous to rig
them. We have gotten unique shots by
mounting the DSLRs on stagecoaches, locomotives and cliff edges. 4K delivery dictates
minimal use, but as a means of getting
otherwise impossible shots, they are fantastic.
We have also employed, to great
effect, an Aeronavics SkyJib multi-rotor
airframe, mounted with a Canon EOS Rebel
T3i with a 17-85mm f4-5.6 Canon EF-S lens,
for aerial shots of our town set and the
prairie countryside. It's a great piece of kit
owned and operated by 1st AC Casey Harrison, who maintains all the necessary
permits. And we've used DJI's Ronin, a
handheld camera gimbal, to shoot horse
riding/chases from the back of a pickup
truck through some very rough terrain. The
results were amazingly smooth shots. We've
also used it to shoot actors who were
harnessed to a barrel/horse rig in the back of
that truck. It's an awesome tool that lets you
get shots that even a Steadicam can't,
although it's by no means a one-man operation.
Typically, I prefer to shoot digital as I
would film and leave the color-correction for
post, because in television, you're always
working against the clock. But in this particular instance, due to our delivery schedule


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Table of Contents for the Digital Edition of American Cinematographer - April 2015

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
American Cinematographer - April 2015 - 12
American Cinematographer - April 2015 - 13
American Cinematographer - April 2015 - 14
American Cinematographer - April 2015 - 15
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American Cinematographer - April 2015 - 18
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American Cinematographer - April 2015 - 20
American Cinematographer - April 2015 - 21
American Cinematographer - April 2015 - 22
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American Cinematographer - April 2015 - 26
American Cinematographer - April 2015 - 27
American Cinematographer - April 2015 - 28
American Cinematographer - April 2015 - 29
American Cinematographer - April 2015 - 30
American Cinematographer - April 2015 - 31
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American Cinematographer - April 2015 - 33
American Cinematographer - April 2015 - 34
American Cinematographer - April 2015 - 35
American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
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American Cinematographer - April 2015 - 43
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American Cinematographer - April 2015 - 45
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American Cinematographer - April 2015 - 47
American Cinematographer - April 2015 - 48
American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
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American Cinematographer - April 2015 - 60
American Cinematographer - April 2015 - 61
American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
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American Cinematographer - April 2015 - 70
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American Cinematographer - April 2015 - 81
American Cinematographer - April 2015 - 82
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American Cinematographer - April 2015 - 85
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American Cinematographer - April 2015 - 94
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American Cinematographer - April 2015 - 96
American Cinematographer - April 2015 - 97
American Cinematographer - April 2015 - 98
American Cinematographer - April 2015 - 99
American Cinematographer - April 2015 - 100
American Cinematographer - April 2015 - 101
American Cinematographer - April 2015 - 102
American Cinematographer - April 2015 - 103
American Cinematographer - April 2015 - 104
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American Cinematographer - April 2015 - 116
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American Cinematographer - April 2015 - 119
American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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