American Cinematographer - October 2008 - (Page 65)

The first period, delineated by very muted colors, encompasses Davis’ boyhood in the 1940s. The second, featuring brighter, richer colors, comprises his introduction to the alien world of Syracuse University. The third look covers the Cotton Bowl, where Davis and his teammates confront virulent racism; for this section of the film, Morgenthau fashioned a hardedged, bleach-bypass look with extreme highlights to communicate the characters’ struggle. The fourth look, depicting Davis’ struggle with leukemia, returns to a more muted palette. The Express was shot mostly in Super 35mm 2.40:1 because “we wanted an epic feel, and because it suited the horizontal field of view in a football game,” says Morgenthau. The filmmakers opted for a classical approach to movement and composition, although the style becomes more aggressive as the story reaches its climax at the Cotton Bowl, an inhospitable venue for black players at that time. Two Panaflex cameras — a Platinum and a Millennium XL — were used throughout the shoot, and both were often equipped with Primo 11:1 (24-275mm) zoom lenses. (The camera package included Primo primes ranging from 14mm to 150mm.) Morgenthau shot most of the picture on two Kodak Vision2 emulsions, 500T 5218 and 250D 5205. “I often pushed the 5218 1 or 2 stops to bring out the grain and pick up more stop at night,” notes the cinematographer. “A little more texture seemed right for this era.” A second unit led by director Allan Graf and cinematographer Bob Scott, who are known for their work with NFL Films, handled much of the football material that did not involve the principal cast. This unit usually used Arri 435Xtremes and often shot at 28 fps or 32 fps to take the edge off the action without obvious overcranking. For his first-unit material, Morgenthau “didn’t do anything fancy with the football coverage,” he says. “We used straightforward dolly moves and telephoto lenses to track the action. The camera was not so much a participant as an observer, allowing the viewer to follow the game more objectively.” A Steadicam operated by Jacques Jouffret was regularly employed both on and off the field, as was a Technocrane; at times, the camera was also mounted on an ATV that followed the ball during games. To achieve the looks he and Fleder had in mind, Morgenthau initially considered using older Photos and frame grabs courtesy of Universal Pictures. Opposite: Thanks to his onfield heroics for Syracuse University, running back Ernie Davis (Rob Brown) became the first AfricanAmerican player to earn college football’s highest honor, the Heisman Trophy. This page, top: Coach Ben Schwartzwalder (Dennis Quaid) counsels Davis while teammate Jack Buckley (Omar Benson Miller) listens. Middle: Davis breaks off another impressive run. Bottom: Steadicam operator Jacques Jouffret (left) captures a shot of Brown as director of photography Kramer Morgenthau, ASC mimics the actor’s stance. American Cinematographer 65

Table of Contents Feed for the Digital Edition of American Cinematographer - October 2008

American Cinematographer - October 2008 Contents Editor's Note Short Takes: DirecTV's "Fourth Wall" Campaign Production Slate: Prison Break Production Slate: Need for Speed: Undercover Middle East Intrigue Kingdom of Light Memoirs of a Spook Landmark Gains Post Focus: An Overview of the ASC CDL Filmmakers' Forum: Roger Deakins, ASC, BSC New Products & Services International Marketplace Classified Ads Clubhouse News ASC Close-Up: Ross Berryman

American Cinematographer - October 2008

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