American Cinematographer - June 2018 - 90

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Audacious Caper

Top: Birkeland moves the camera into position above Keoghan. Middle: Birkeland shoots on the
staircase landing. Above: The filmmakers plan a shot of Spencer eyeing the Audubon volume.

90

June 2018

American Cinematographer

camera eyelines. The top camera
captured the wide on a 75mm Cooke
Anamorphic/i, while the bottom
camera did mid-shots and close-ups
with a 48-580mm Angenieux Optimo
(T4) anamorphic zoom - converted
from a 12:1 24-290mm (T2.8) Optimo
spherical zoom via a Vantage rearanamorphic adapter. "The whole rig
could pan and tilt together," says
Wilson, and the bottom camera could
also move independently. The cameras
recorded ProRes 4:4:4:4 in 4:3 sensor
mode to Codex XR Capture Drives.
This dual-camera system made it
easy on the editor, but its bulk could be
intimidating to interviewees. "They're
not actors, just regular people," Wilson
says. The filmmakers thus devised a way
to hide the rig from view. A large glass
plate was placed at a 45-degree angle
between subject and interviewer.
Layton, who conducted the interviews,
sat behind a black curtain. That forced
the subject to focus on Layton's reflection in the glass - and positioned
directly behind that was the camera rig.
Layton was pleased with the results:
"It's like you're having a one-to-one
conversation, but it's all reflected."
Wilson adds, "Our first AC, Troy
Wagner, made sure it all lined up and
was in focus. I met him on Masterminds
in North Carolina the year before, and
he had experience with 3D rigs, so he
was a great help."
Layton spent some time rewriting the script once the interviews were
in the can, and by the time he was ready
to continue with the dramatic parts,
Wilson was shooting Paddington 2 and
had to bow out. He recommended his
good friend Ole Birkeland.
When picking up the baton,
Birkeland switched to an Alexa Mini
for its greater agility, and recorded in
ArriRaw in Open Gate mode to CFast
cards. Except for one car stunt, this part
of the production was entirely single
camera.
The decision regarding anamorphics was more complicated. "Because
the documentary footage had been shot
anamorphic, we decided it would be



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
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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