American Cinematographer - August 2013 - 39

Photos by Bojan Bazelli.

at the camera. Martin had the camera
on a slider and did a great job of finding
that sweet spot where the light would
hit the lens in the most interesting way.
In the real train, I had to match the look
of the stage work because there’s a direct
cut from the closed train-car door
onstage to the same door on location,
and then the door flies open to reveal
the prairie flying by and Cavendish’s
gang on horses galloping right next to
the train. We used two 18K ArriMaxes
inside the car to balance to the exterior
when the door was thrown open, and a
6K Par on the side of the train to recreate a specific sun pattern we’d established onstage. Onstage we were at a
T4, and on location we needed a T32 to
balance the light correctly. We shot the
whole sequence with an Alexa, and the
transition from stage to location looks
pretty seamless.
The opening sequence also
introduces John Reid, who is a passenger on the same train. The moment he
realizes there’s someone running on
top of the train is a nice bit of visual
storytelling, and it plays out in one
shot. How did you do that?
Bazelli: That shot was in the
storyboards from the beginning, and it
required a lot of planning and coordination to achieve. We dragged it with us
for a few weeks so we could find the
right time to do it, and we had a separate car rigged for it that was always
standing by. We were on a 50mm C
Series. We start on a close-up of Reid
reading, and then we dolly around into a
profile and see him glance out the
window and notice the shadow of the
man running on top of the car. To get
the shot, the train and the sun had to be
in the right position in relation to each
other, because the man’s shadow had to
fit completely in frame — it’s entirely
real, not CG. We had to find the right
time of day and the right spot along the
train track, and the stuntman’s timing
on top of the train had to be exact. It
was like conducting an orchestra! Other
than that, it was an easy shot to get
[laughs]. The grips adapted our bouncelight rig so the ArriMaxes were

A bullet-time shot during a bank robbery required major lighting firepower and a Red camera array. At
the cameras during prep for the shot are (from left) camera operator John Skotchdopole, A-camera
operator Martin Schaer, A-camera 2nd AC Walrus Howard, 1st AC James Goldman, and still
photographer Peter Mountain. At left in foreground is grip Satoshi Yamazaki.

suspended from a truss off the side of
the train, positioning it so it wouldn’t
create shadows during the 40- to 60minute window of sun we had for the
shot.
We used an Alexa because the
depth-of-field was important. When
Reid sees the shadow, we didn’t want to
rack focus to the shadow in a noticeable
way and have Reid be very soft in the
foreground. We wanted the shadow to
www.theasc.com

look organic, not crisp and clean. So, we
needed to work at a high stop. With
film, the most we could’ve got inside
was f2.5, but rating the Alexa at 500
ISO, we exposed at f8, and that gave us
enough depth. I let the background go 3
stops over. That shot also shows how far
digital has progressed, because the
Alexa carried that detail in the bright
exterior with illuminated interiors. The
range was quite significant.
➣
August 2013

39


http://www.theasc.com

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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