American Cinematographer - October 2014 - 26
Top: Karakatsanis
(seated on dolly)
sets up a shot
inside the bar's
kitchen. Middle:
Key grip Dave
Stern operates a
custom camera
rig used to
achieve a 360degree vertical
flip. Bottom: An
Arri Alexa M
camera is
mounted behind
Lexan for a shot
"inside" the
drop box.
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus, M
Leica Summilux-C
26
October 2014
American Cinematographer
➣
Bottom two photos courtesy of Dave Stern.
tail that mounts the camera, which sported
a 25mm Leica lens," Stern explains.
Karakatsanis asked Stern to operate
the camera so the cinematographer could
concentrate on watching how the shot
looked on the monitor. The rig was set up
behind the counter, with the lens facing out
into the room as the man walks up and lays
the envelope of cash on the counter. As
Bob's hand takes the envelope, Stern tilted
the rig down to follow the action, revealing
the floor where Bob is standing; the camera
then starts on the upswing to show Bob,
upside-down in the frame, as he puts the
money in the drop box. The camera continues rotating and completes the full 360degree roll, ending up where it began as
another man walks up to the counter with
an envelope.
A second shot, which Roskam operated, follows the envelope as it enters the
drop box and falls into the safe. Stern
explains, "We encased [a stripped-down
Alexa M] in a plywood box to give it that
closed-in feel. I attached a small sheet of
Lexan to the camera, about 8 inches below
the lens. When [Hardy] dropped the envelope into the slot, it fell onto that piece of
Lexan. Michaël then turned the rig and the
envelope slid off the Lexan to the bottom of
the plywood box, [which doubled for the
vault]."
Karakatsanis says The Drop was a
remarkably trouble-free production. He was
"super pleased" with his crew, which also
included 1st AC Blackford "Boots" Shelton
and 2nd AC Scott Lipkowitz. The cinematographer adds that he tries "to do
everything on-set with the gaffer and DIT. If
I absolutely can't shoot it the way I want, I'll
do it in post. Final grading on The Drop took
a mere half-day at Company 3 in Los Angeles with colorist Stephen Nakamura."
Company 3 in New York deBayered the
ArriRaw footage to 2K, and the final grade
was completed at that resolution, with
Nakamura working in Blackmagic Design's
DaVinci Resolve 10.
American Cinematographer - October 2014
Table of Contents for the Digital Edition of American Cinematographer - October 2014
Contents
American Cinematographer - October 2014 - Cover1
American Cinematographer - October 2014 - Cover2
American Cinematographer - October 2014 - 1
American Cinematographer - October 2014 - 2
American Cinematographer - October 2014 - Contents
American Cinematographer - October 2014 - 4
American Cinematographer - October 2014 - 5
American Cinematographer - October 2014 - 6
American Cinematographer - October 2014 - 7
American Cinematographer - October 2014 - 8
American Cinematographer - October 2014 - 9
American Cinematographer - October 2014 - 10
American Cinematographer - October 2014 - 11
American Cinematographer - October 2014 - 12
American Cinematographer - October 2014 - 13
American Cinematographer - October 2014 - 14
American Cinematographer - October 2014 - 15
American Cinematographer - October 2014 - 16
American Cinematographer - October 2014 - 17
American Cinematographer - October 2014 - 18
American Cinematographer - October 2014 - 19
American Cinematographer - October 2014 - 20
American Cinematographer - October 2014 - 21
American Cinematographer - October 2014 - 22
American Cinematographer - October 2014 - 23
American Cinematographer - October 2014 - 24
American Cinematographer - October 2014 - 25
American Cinematographer - October 2014 - 26
American Cinematographer - October 2014 - 27
American Cinematographer - October 2014 - 28
American Cinematographer - October 2014 - 29
American Cinematographer - October 2014 - 30
American Cinematographer - October 2014 - 31
American Cinematographer - October 2014 - 32
American Cinematographer - October 2014 - 33
American Cinematographer - October 2014 - 34
American Cinematographer - October 2014 - 35
American Cinematographer - October 2014 - 36
American Cinematographer - October 2014 - 37
American Cinematographer - October 2014 - 38
American Cinematographer - October 2014 - 39
American Cinematographer - October 2014 - 40
American Cinematographer - October 2014 - 41
American Cinematographer - October 2014 - 42
American Cinematographer - October 2014 - 43
American Cinematographer - October 2014 - 44
American Cinematographer - October 2014 - 45
American Cinematographer - October 2014 - 46
American Cinematographer - October 2014 - 47
American Cinematographer - October 2014 - 48
American Cinematographer - October 2014 - 49
American Cinematographer - October 2014 - 50
American Cinematographer - October 2014 - 51
American Cinematographer - October 2014 - 52
American Cinematographer - October 2014 - 53
American Cinematographer - October 2014 - 54
American Cinematographer - October 2014 - I3
American Cinematographer - October 2014 - I4
American Cinematographer - October 2014 - 55
American Cinematographer - October 2014 - 56
American Cinematographer - October 2014 - 57
American Cinematographer - October 2014 - 58
American Cinematographer - October 2014 - 59
American Cinematographer - October 2014 - 60
American Cinematographer - October 2014 - 61
American Cinematographer - October 2014 - 62
American Cinematographer - October 2014 - 63
American Cinematographer - October 2014 - 64
American Cinematographer - October 2014 - 65
American Cinematographer - October 2014 - 66
American Cinematographer - October 2014 - 67
American Cinematographer - October 2014 - 68
American Cinematographer - October 2014 - 69
American Cinematographer - October 2014 - 70
American Cinematographer - October 2014 - 71
American Cinematographer - October 2014 - 72
American Cinematographer - October 2014 - 73
American Cinematographer - October 2014 - 74
American Cinematographer - October 2014 - 75
American Cinematographer - October 2014 - 76
American Cinematographer - October 2014 - 77
American Cinematographer - October 2014 - 78
American Cinematographer - October 2014 - I1
American Cinematographer - October 2014 - I2
American Cinematographer - October 2014 - 79
American Cinematographer - October 2014 - 80
American Cinematographer - October 2014 - 81
American Cinematographer - October 2014 - 82
American Cinematographer - October 2014 - 83
American Cinematographer - October 2014 - 84
American Cinematographer - October 2014 - 85
American Cinematographer - October 2014 - 86
American Cinematographer - October 2014 - 87
American Cinematographer - October 2014 - 88
American Cinematographer - October 2014 - 89
American Cinematographer - October 2014 - 90
American Cinematographer - October 2014 - 91
American Cinematographer - October 2014 - 92
American Cinematographer - October 2014 - 93
American Cinematographer - October 2014 - 94
American Cinematographer - October 2014 - 95
American Cinematographer - October 2014 - 96
American Cinematographer - October 2014 - 97
American Cinematographer - October 2014 - 98
American Cinematographer - October 2014 - 99
American Cinematographer - October 2014 - 100
American Cinematographer - October 2014 - 101
American Cinematographer - October 2014 - 102
American Cinematographer - October 2014 - 103
American Cinematographer - October 2014 - 104
American Cinematographer - October 2014 - 105
American Cinematographer - October 2014 - 106
American Cinematographer - October 2014 - 107
American Cinematographer - October 2014 - 108
American Cinematographer - October 2014 - 109
American Cinematographer - October 2014 - 110
American Cinematographer - October 2014 - 111
American Cinematographer - October 2014 - 112
American Cinematographer - October 2014 - 113
American Cinematographer - October 2014 - 114
American Cinematographer - October 2014 - 115
American Cinematographer - October 2014 - 116
American Cinematographer - October 2014 - Cover3
American Cinematographer - October 2014 - Cover4
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