American Cinematographer - July 2015 - 58

◗

The Boys Are Back

ing like that, you have to rehearse a lot."
A few other complicated
sequences also required extensive
rehearsing. "Doug and I would stage
scenes with stand-ins; I'd shoot them
on video with my [Canon] 5D, edit
them on FCPX, and then we'd discuss
and fine-tune the result for the ideal
pace," Fierberg says. "Doug is all about
rhythm. He has a perfect sense of
timing, [like there's] a metronome in
his head, which is why his comedy
works so well. With a lot of movies I'll
make a photo storyboard, but this was
the most effective way for us to collaborate."
The most challenging sequence
was the movie's opener: a party on a
110' yacht in Miami's Biscayne Bay,
which doubled for Ibiza, Spain.
According to key grip Charles
Smallwood, the crew mounted a gyrostabilized digital remote head on the
bow of a chase boat and did "some
incredibly long-lens work" with a classic Canon 150-600mm zoom. The
scene also involved a camera on a helicopter that could swoop down onto the
yacht. Fierberg notes, "The collaboration between myself, executive
producer Wayne Carmona and 1st AD
Gary Goldman - who was on
Entourage since the beginning - is
fantastic, so we always get what we
need to make the scene great.

Top and middle:
The boys walk the
streets of Beverly
Hills and
Hollywood.
Bottom: The crew
shoots poolside
with Grenier.

58

July 2015

American Cinematographer



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

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
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