American Cinematographer - November 2013 - 85

constructing a film," says Antal. "I'm
completely aware of 3-D's capabilities,
particularly in emotionally enhancing
the material, but I still approach the
construction of a scene with classical
film language in mind. The potential
limitations of the medium did nothing
to change the course of how I would
have otherwise made the film."
Pados and Antal used Arri Alexas
in 10 CPG Fusion rigs to cover the show
on dollies, Technocranes, Steadicams
and a swooping NavCam. Two 50'
Technocrane rigs were each equipped
with a pair of Angenieux Optimo 1780mm T2.2 zoom lenses, while the
other systems used pairs of Optimo 1540mm T2.6 zooms. (Additionally, a
miniature CPG "BlakeCam" and a
Fusion rig with Sony HDC-F950
brains behind a beam-splitter were
mounted to Ulrich's rotating drum platform.) "For getting really close and
personal during the show, we were
always in the 25mm to 40mm range,"
says Pados, adding, "The BlakeCam is a
prototype camera about the size of a
cigarette pack that James Cameron
developed to use on his underwater
missions."
In building his camera crew,
Pados sought operators with experience
not only in concert films and 3-D, but
feature films as well, "so they would have
that dramatic eye," he relates. "When I
first met with them, I said, 'Every shot is
a feature-film shot.'"
Pados' search led him to employ
A-camera/Steadicam operator Henry
Tirl, as well as cinematographers
Mitchell Amundsen and Rodney Taylor,
ASC. Taylor's cinematography credits
include a number of Imax documentaries (including Alaska: Spirit of the
Wild), narrative feature films (That
Evening Sun) and 3-D concert experiences (Hannah Montana & Miley Cyrus:
Best of Both Worlds, a credit shared with
Amundsen). "Operating on this film was
a cinematographer's job," Pados explains.
Before each night's performance,
Pados gathered the operators to discuss
ideal compositions and camera moves,
"but for two hours they had to provide

Top: After emerging
from the wrecked
vehicle, the roadie,
Trip (Dane DeHaan),
makes his way down
an ominously
deserted street.
Middle: Blocks later,
Trip finds himself
caught in the middle
of a violent
confrontation
between rioters and
police. Bottom: A
mounted
executioner,
modeled after Frank
Frazetta's Death
Dealer paintings,
gallops into the fray.

www.theasc.com

November 2013

85



http://www.theasc.com

American Cinematographer - November 2013

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

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
American Cinematographer - November 2013 - 52
American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
American Cinematographer - November 2013 - 64
American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
American Cinematographer - November 2013 - 68
American Cinematographer - November 2013 - 69
American Cinematographer - November 2013 - 70
American Cinematographer - November 2013 - 71
American Cinematographer - November 2013 - 72
American Cinematographer - November 2013 - 73
American Cinematographer - November 2013 - 74
American Cinematographer - November 2013 - 75
American Cinematographer - November 2013 - 76
American Cinematographer - November 2013 - 77
American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
American Cinematographer - November 2013 - 80
American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
American Cinematographer - November 2013 - 83
American Cinematographer - November 2013 - 84
American Cinematographer - November 2013 - 85
American Cinematographer - November 2013 - 86
American Cinematographer - November 2013 - 87
American Cinematographer - November 2013 - 88
American Cinematographer - November 2013 - 89
American Cinematographer - November 2013 - 90
American Cinematographer - November 2013 - 91
American Cinematographer - November 2013 - 92
American Cinematographer - November 2013 - 93
American Cinematographer - November 2013 - 94
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American Cinematographer - November 2013 - 97
American Cinematographer - November 2013 - 98
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American Cinematographer - November 2013 - 100
American Cinematographer - November 2013 - 101
American Cinematographer - November 2013 - 102
American Cinematographer - November 2013 - 103
American Cinematographer - November 2013 - 104
American Cinematographer - November 2013 - 105
American Cinematographer - November 2013 - 106
American Cinematographer - November 2013 - 107
American Cinematographer - November 2013 - 108
American Cinematographer - November 2013 - 109
American Cinematographer - November 2013 - 110
American Cinematographer - November 2013 - 111
American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
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