American Cinematographer - June 2018 - 106

◗

Peak Performance

Top: The ultrarunner pauses on the rugged terrain. Above: Nolan, Nguyen and
camera assistant Christian Bonaventura catch their collective breath after keeping pace with
Jurek for a half-mile running shot.

call, and I thought you handled it really
well, because he basically said, 'Let's get
Hunter out there now.'
Nolan: He called me and said,
'Hunter, how far can you run with the
Movi, and how fast can you run with the
Movi?' And I said, 'Louie, how far do
you need me to run, and how fast do you
need me to run? I'll get myself there.'
Behrens: In a nutshell, that sums
up what the entire production was like.
'How far and how fast?' You just figure
out how to do it. That's the difference, I
would say, between documentary and
narrative: You really are following.
Sometimes we're setting things up, but
always based on what the character
106

June 2018

would do anyway. And like Hunter said,
there's no stopping Scott.
How was it determined which of
the two of you would shoot a given
interview or event?
Behrens: A lot of it was scheduling, because I was working on a few
other films at the time. And Scott's
whole adventure was happening simultaneous to other interviews that we were
shooting for the film. So there were
times when Hunter was on the
Appalachian Trail and I was with Louie
in Los Angeles or Germany or Russia;
we had to divide and conquer for that.
And then, when I had to move on to
another film, Hunter [remained on
American Cinematographer

through] the end of Game Changers.
Nolan: John and I shared the first
12 months of shooting starting in 2015,
and then, when John had to move on to
other projects, I took over to shoot everything that occurred over the next twoand-a-half years of production. This film
has been my full-time focus for the last
three years.
How did you decide on your
camera package?
Nolan: Rather than consistency
across the whole plane, we were considering, 'What are the tools that make the
most sense for each of these shoots?' So
John was shooting a lot of Sony F5 stuff,
and while I was out on the Appalachian
Trail, I went right to a Red [Epic-W and
Epic Dragon]. I knew that the bottom
line for this project was 4K, and I really
wanted to be able to maximize these
moments that I was able to have with
Scott, so I needed a camera that could
shoot good slow motion out there.
Also, I had a Movi for 100 percent
of the shoot. From a balancing and
weight-distribution perspective, the Red
allowed me to use cinema lenses because
it's such a compact little box. Some of the
cameras that are better for handheld doc
work are just too long to be able to use
with this [Movi] system.
We continued like that. John
continued shooting Sony stuff, and I
continued shooting Red, and we ran the
gamut based on the situation that we
were in. There are times when a DSLR
is the only thing you can sneak into
Zimbabwe.
Behrens: We had used Sony F5s
on Racing Extinction because of their
[light] sensitivity - their base ISO is
2,000 - and they make great documentary cameras because they've got great
sound on board, and timecode, and
they're very easy and reliable in the field.
So we started this film with F5s, also
based on Louie wanting to steer clear of
lighting whenever possible. But doing
off-speed stuff, we ended up either
having to use a Red Epic Dragon or a
[Vision Research] Phantom Flex4K -
and a Red is a much more economical
solution than a Phantom. And 120 [fps]



Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
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