American Cinematographer - June 2018 - 108

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Peak Performance
for a lot of it was going to be just fine.
We used F5s for the interviews that I
shot because it's such a perfect sound
camera. We sometimes had a Sony FS7,
and then, for all of the B roll and the real
stylized shots, we would use whatever
camera was right for that.
I always had a Movi M5 on the
shoot with a Sony a7S, the little 4K
[mirrorless] camera. I would also sometimes put the F5 on a Steadicam if we
were doing sound, or sometimes I flew
the a7S on the Steadicam. There was
always a stabilizer ready to go.
Working with Louie, you need to
have several cameras at the ready
because he likes to go with the flow. An
athlete will show us something or tell us
something, and he's like, 'Well, let's
shoot it.' I was inspired by what Robert
Richardson [ASC] did with Oliver
Stone on Natural Born Killers. They
basically had a table full of cameras -
video cameras, a 35mm camera loaded
with 200 ASA stock, a non-sync camera
with black-and-white stock, a 16mm
camera, a Super 8 camera - and they
would just go to the table and grab a
camera and shoot. We took that sort of
approach into documentary filmmaking.
You need to have several tools, and visually, having the texture change and not
always feeling like you're locked-down to
one specific way of moving the camera
or one specific lens has been very important to giving the film a rich visual
language.
What lenses did you work with?
Nolan: I used a lot of
[Fujifilm/Fujinon] Cabrio zooms and
[Arri/Zeiss] Ultra Primes. On the
Appalachian Trail, I had one Movi
rigged with a Red and Ultra Primes, and
then I had another Movi rigged with a
Canon 1D C and L-series lenses,
because that one weighs three pounds
and I could go run a mile, two miles, five
miles with Scott without having to wear
an Easyrig.
Behrens: When I used a zoom it
was a Canon 17-120mm Cine-Servo
[T2.95-3.9], and then [Arri/Zeiss]
Master Primes on the Phantom, or on
the F5 for interviews. We also used

Top and above: Nolan
keeps pace with Jurek
as the ultrarunner
receives some
welcome
encouragement.
Right, clockwise from
left: Atop Mount
Katahdin in Maine,
Nolan, Jurek, PerronSiegel, Bonaventura,
Jenny Jurek, Nguyen
and production
assistant Ian Glatts
celebrate the
completion of the
record-setting run.

108

June 2018

American Cinematographer



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
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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