American Cinematographer - November 2010 - 37

to somehow put a tiny camera on the end of a pole amongst the horses. I considered the Ikonoskop A-cam, which I used on Apocalpyto [AC Jan. ’07], but then I spoke to John Galt at Panavision, and he introduced me to the Olympus E-P1 [DSLR], which he was just then buying. The Olympus people gave us one, and we did some tests at Hollywood Park. My rigging grip, Kim Heath, created a tiny mount at the end of a broomstick. Freddie Hice, our stunt coordinator, drove an ATV around the track behind some horses, and the operator stood in the ATV holding this primitive broomstick device. The horses were galloping, but they were like draft horses

in [the final cut]. The silliest rig for it was on a saddle strap under the horse’s belly, looking back between his back legs. As funny as it sounds, it’s in the movie. We also put it on the jockey’s shoulder, so you could see over Secretariat as he overtook the others. The Olympus is tiny and very lightweight, and it only costs $800, so we had several spares standing by in case it got damaged, which it didn’t. It

only ran at 30 fps and had automatic exposure, so I had to be careful shooting dark horses against a white sky. But these slight drawbacks were far outweighed by the spectacular images that little camera produced. How did the operator see what he was filming with the Olycam? Semler: [Second-unit camera operator] Kris Krosskove became the master of that camera. We got a

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compared with the thoroughbreds we were to meet later on — they might have been doing 15-20 mph. When we watched the footage, we saw that we were on to something pretty extraordinary. The Olympus could sit inches above the track, a few feet behind the horses, or just a few inches from the horse’s nose or chest, the jockey’s hands or the jockey’s face. What’s more, if something happened, it could be pulled out immediately. The safety advantage was huge. We called it the Olycam. I used it in the dirt, right behind the horses’ hooves, and looking forward down the track as they broke out of the gate. I also put one at the top of the start gate, looking straight down on Secretariat as he broke out. It was a quick piece, but it’s

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American Cinematographer - November, 2010

Table of Contents for the Digital Edition of American Cinematographer - November, 2010

American Cinematographer - November 2010
Contents
Editor’s Note
President’s Desk
Short Takes: “Sextape”
Production Slate: The LXD • Monsters
Horse Power
The World’s Most Wanted Man
A Modern Romance
King of Cool
Primetime Artistry
Post Focus: New Hat
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Phedon Papamichael
American Cinematographer - November, 2010 - American Cinematographer - November 2010
American Cinematographer - November, 2010 - Cover2
American Cinematographer - November, 2010 - 1
American Cinematographer - November, 2010 - 2
American Cinematographer - November, 2010 - Contents
American Cinematographer - November, 2010 - 4
American Cinematographer - November, 2010 - 5
American Cinematographer - November, 2010 - 6
American Cinematographer - November, 2010 - 7
American Cinematographer - November, 2010 - Editor’s Note
American Cinematographer - November, 2010 - 9
American Cinematographer - November, 2010 - President’s Desk
American Cinematographer - November, 2010 - 11
American Cinematographer - November, 2010 - Short Takes: “Sextape”
American Cinematographer - November, 2010 - 13
American Cinematographer - November, 2010 - 14
American Cinematographer - November, 2010 - 15
American Cinematographer - November, 2010 - 16
American Cinematographer - November, 2010 - 17
American Cinematographer - November, 2010 - Production Slate: The LXD • Monsters
American Cinematographer - November, 2010 - 19
American Cinematographer - November, 2010 - 20
American Cinematographer - November, 2010 - 21
American Cinematographer - November, 2010 - 22
American Cinematographer - November, 2010 - 23
American Cinematographer - November, 2010 - 24
American Cinematographer - November, 2010 - 25
American Cinematographer - November, 2010 - 26
American Cinematographer - November, 2010 - 27
American Cinematographer - November, 2010 - 28
American Cinematographer - November, 2010 - 29
American Cinematographer - November, 2010 - Horse Power
American Cinematographer - November, 2010 - 31
American Cinematographer - November, 2010 - 32
American Cinematographer - November, 2010 - 33
American Cinematographer - November, 2010 - 34
American Cinematographer - November, 2010 - 35
American Cinematographer - November, 2010 - 36
American Cinematographer - November, 2010 - 37
American Cinematographer - November, 2010 - 38
American Cinematographer - November, 2010 - 39
American Cinematographer - November, 2010 - 40
American Cinematographer - November, 2010 - 41
American Cinematographer - November, 2010 - The World’s Most Wanted Man
American Cinematographer - November, 2010 - 43
American Cinematographer - November, 2010 - 44
American Cinematographer - November, 2010 - 45
American Cinematographer - November, 2010 - 46
American Cinematographer - November, 2010 - 47
American Cinematographer - November, 2010 - 48
American Cinematographer - November, 2010 - 49
American Cinematographer - November, 2010 - 50
American Cinematographer - November, 2010 - 51
American Cinematographer - November, 2010 - 52
American Cinematographer - November, 2010 - 53
American Cinematographer - November, 2010 - A Modern Romance
American Cinematographer - November, 2010 - 55
American Cinematographer - November, 2010 - 56
American Cinematographer - November, 2010 - 57
American Cinematographer - November, 2010 - 58
American Cinematographer - November, 2010 - 59
American Cinematographer - November, 2010 - 60
American Cinematographer - November, 2010 - 61
American Cinematographer - November, 2010 - 62
American Cinematographer - November, 2010 - 63
American Cinematographer - November, 2010 - King of Cool
American Cinematographer - November, 2010 - 65
American Cinematographer - November, 2010 - 66
American Cinematographer - November, 2010 - 67
American Cinematographer - November, 2010 - 68
American Cinematographer - November, 2010 - 69
American Cinematographer - November, 2010 - 70
American Cinematographer - November, 2010 - 71
American Cinematographer - November, 2010 - 72
American Cinematographer - November, 2010 - 73
American Cinematographer - November, 2010 - 74
American Cinematographer - November, 2010 - 75
American Cinematographer - November, 2010 - 76
American Cinematographer - November, 2010 - 77
American Cinematographer - November, 2010 - 78
American Cinematographer - November, 2010 - 79
American Cinematographer - November, 2010 - Primetime Artistry
American Cinematographer - November, 2010 - 81
American Cinematographer - November, 2010 - Post Focus: New Hat
American Cinematographer - November, 2010 - 83
American Cinematographer - November, 2010 - 84
American Cinematographer - November, 2010 - 85
American Cinematographer - November, 2010 - Tricks of the Trade
American Cinematographer - November, 2010 - 87
American Cinematographer - November, 2010 - New Products & Services
American Cinematographer - November, 2010 - 89
American Cinematographer - November, 2010 - 90
American Cinematographer - November, 2010 - 91
American Cinematographer - November, 2010 - 92
American Cinematographer - November, 2010 - 93
American Cinematographer - November, 2010 - International Marketplace
American Cinematographer - November, 2010 - 95
American Cinematographer - November, 2010 - Ad Index
American Cinematographer - November, 2010 - 97
American Cinematographer - November, 2010 - Clubhouse News
American Cinematographer - November, 2010 - 99
American Cinematographer - November, 2010 - ASC Close-Up: Phedon Papamichael
American Cinematographer - November, 2010 - Cover3
American Cinematographer - November, 2010 - Cover4
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