American Cinematographer - May 2015 - 53

adds that this portion of the sequence
was shot "on Pikes Peak, at elevations of
9,500 to 12,500 feet, for three weeks.
Then we moved to Salida and Monarch
Pass [in Colorado] for another four
weeks of shooting."
Meglic notes that the chase
involved "lots of cars going in different
directions, so there are lots of mini stories
about who is chasing whom. We had to
cover them with helicopters, cable-cams
and ground cameras that we had positioned around the course on location, as
well as cameras mounted inside and
outside the cars. The area was so steep,
even the guys setting up cameras on the
hill had to wear safety ropes while working there." Ably handling the camera
rigging for this and other action
sequences was 2nd-unit key grip Peter
Chrimes and his crew.
The chase also required 360degree background plates of the Pikes
Peak location. To get these plates, the
second unit shot from a tricked-out
camera car that comprised a strippeddown Corvette chassis and engine -
with no body - fitted with a front and
rear deck. The car supported a camera rig
of six Alexa XTs configured with six
matching wide-angle Primo lenses
(usually 17mm or 21mm), allowing the
crew to record seamless 360-degree
panoramic plates. "The front deck had a
three-camera array, with a camera looking straight forward, a camera looking
approximately 120 degrees left, and a
camera looking approximately 120
degrees right," Haitkin explains. An
identical array was rigged on the rear
deck, so "when the front array is stitched
together digitally with the back array, a
360-degree panorama is achieved," he
adds.
Haitkin presided over the background-plate work in instances that
called for camera operating, but he notes
that credit for "the hands-on work of
camera alignment and execution of the
shots when the cameras were locked off
- which was most of the time - goes to
camera assistants Jack Ellingwood and
Arturo Rojas. And credit for the design,
development and execution of the entire



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American Cinematographer - May 2015

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

Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
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American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
American Cinematographer - May 2015 - 44
American Cinematographer - May 2015 - 45
American Cinematographer - May 2015 - 46
American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
American Cinematographer - May 2015 - 51
American Cinematographer - May 2015 - 52
American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
American Cinematographer - May 2015 - 56
American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
American Cinematographer - May 2015 - 59
American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
American Cinematographer - May 2015 - 64
American Cinematographer - May 2015 - 65
American Cinematographer - May 2015 - 66
American Cinematographer - May 2015 - 67
American Cinematographer - May 2015 - 68
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American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
American Cinematographer - May 2015 - 72
American Cinematographer - May 2015 - 73
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American Cinematographer - May 2015 - 76
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American Cinematographer - May 2015 - 78
American Cinematographer - May 2015 - 79
American Cinematographer - May 2015 - 80
American Cinematographer - May 2015 - 81
American Cinematographer - May 2015 - 82
American Cinematographer - May 2015 - 83
American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
American Cinematographer - May 2015 - 86
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American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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