American Cinematographer - February 2012 - 52

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High Stakes
so we could at least get some control and not use all our energy just lifting the load in the air,” says Grillo. Eventually, rollers and a type of oarlock were added for speedy and safe retraction of the poles. “Around the fourth episode, I got a little bold and asked [key grip] John Januseck if he could build a jib arm with whatever he had available, and he designed an 18-foot jib made of speed rail,” Grillo says. Cables kept the steel tubing taut and stabilized the jib “like a hanging bridge,” preventing the camera from wobbling in the air. “The difference was night and day,” adds Grillo, who operated the jib. “We could actually go from the horse’s feet up to the jockey’s face and maintain a level horizon.” The jib could also swing quickly out of the way. This enabled the cameramen to get safely behind the horses, permitting shots like one that shows a jockey falling off his mount mid-race and tumbling toward the camera. “The jib arm allowed me to get an angle low to the ground, and then, when the jockey fell off, I was able to lift up and go right over him,” says Grillo. Pan-and-tilt capabilities were still missing, however. “Eventually we were able to get a very lightweight remote head made by VariZoom, and we used it on the jib arm for the last three episodes,” says Grillo. “It worked as a sort of handheld remote head, so I like to think it fell within Michael’s aesthetic directive.” Three to six cameras rode in the crowded camera car. Typically, Grillo operated the jib, Chris Cuevas operated a polecam, and the cinematographer handheld a DSLR or Alexa from the pickup’s backseat. In addition, low platforms were added to the vehicle’s front and rear. Camera operator Roberto De Angelis lay facedown, operating a DSLR while whizzing around the track. “He loves danger — he’s very Italian!” says Grillo. To achieve shooting speeds higher than 60 fps from behind a horse, an outrigger was added that extended 5' to the side. This could carry the Arri 435, enabling some eye-catching shots, including the background plate of an accident during which a horseshoe comes off mid-race, flies toward the camera and clips another horse’s leg. It fell to Fine to mesh all the parts that grew out of the continuing R&D. “My contribution was to take all these incredible tools and design a way to tell the story in which everything was covered in an elegant way,” he says. “The assignments were always divvied up. I might say, ‘Okay, one polecam will move from the hoof to the horse’s mouth, shooting past him. My camera will shoot a tight handheld profile of the rider. The other polecam should be low on the horse’s hoof with a wide-angle lens looking up.’ “With horseracing, nothing ever happens where you want it, when you want it or in the proper order, so when

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American Cinematographer - February 2012

Table of Contents for the Digital Edition of American Cinematographer - February 2012

American Cinematographer - February 2012
Contents
Editor’s Note
President’s Desk
Short Takes: NASA time-lapse footage of Earth
Production Slate: Extremely Loud and Incredibly CloseAct of Valor
Saving the Whales
High Stakes
A Very Bad Cop
Cinema, Italian Style
Filmmakers’ Forum: Hiro Narita, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - American Cinematographer - February 2012
American Cinematographer - February 2012 - Cover2
American Cinematographer - February 2012 - 1
American Cinematographer - February 2012 - 2
American Cinematographer - February 2012 - Contents
American Cinematographer - February 2012 - 4
American Cinematographer - February 2012 - 5
American Cinematographer - February 2012 - 6
American Cinematographer - February 2012 - 7
American Cinematographer - February 2012 - Editor’s Note
American Cinematographer - February 2012 - 9
American Cinematographer - February 2012 - President’s Desk
American Cinematographer - February 2012 - 11
American Cinematographer - February 2012 - Short Takes: NASA time-lapse footage of Earth
American Cinematographer - February 2012 - 13
American Cinematographer - February 2012 - 14
American Cinematographer - February 2012 - 15
American Cinematographer - February 2012 - 16
American Cinematographer - February 2012 - 17
American Cinematographer - February 2012 - Production Slate: Extremely Loud and Incredibly CloseAct of Valor
American Cinematographer - February 2012 - 19
American Cinematographer - February 2012 - 20
American Cinematographer - February 2012 - 21
American Cinematographer - February 2012 - 22
American Cinematographer - February 2012 - 23
American Cinematographer - February 2012 - 24
American Cinematographer - February 2012 - 25
American Cinematographer - February 2012 - 26
American Cinematographer - February 2012 - 27
American Cinematographer - February 2012 - 28
American Cinematographer - February 2012 - 29
American Cinematographer - February 2012 - Saving the Whales
American Cinematographer - February 2012 - 31
American Cinematographer - February 2012 - 32
American Cinematographer - February 2012 - 33
American Cinematographer - February 2012 - 34
American Cinematographer - February 2012 - 35
American Cinematographer - February 2012 - 36
American Cinematographer - February 2012 - 37
American Cinematographer - February 2012 - 38
American Cinematographer - February 2012 - 39
American Cinematographer - February 2012 - 40
American Cinematographer - February 2012 - 41
American Cinematographer - February 2012 - High Stakes
American Cinematographer - February 2012 - 43
American Cinematographer - February 2012 - 44
American Cinematographer - February 2012 - 45
American Cinematographer - February 2012 - 46
American Cinematographer - February 2012 - 47
American Cinematographer - February 2012 - 48
American Cinematographer - February 2012 - 49
American Cinematographer - February 2012 - 50
American Cinematographer - February 2012 - 51
American Cinematographer - February 2012 - 52
American Cinematographer - February 2012 - 53
American Cinematographer - February 2012 - A Very Bad Cop
American Cinematographer - February 2012 - 55
American Cinematographer - February 2012 - 56
American Cinematographer - February 2012 - 57
American Cinematographer - February 2012 - 58
American Cinematographer - February 2012 - 59
American Cinematographer - February 2012 - 60
American Cinematographer - February 2012 - 61
American Cinematographer - February 2012 - Cinema, Italian Style
American Cinematographer - February 2012 - 63
American Cinematographer - February 2012 - 64
American Cinematographer - February 2012 - 65
American Cinematographer - February 2012 - 66
American Cinematographer - February 2012 - 67
American Cinematographer - February 2012 - 68
American Cinematographer - February 2012 - 69
American Cinematographer - February 2012 - 70
American Cinematographer - February 2012 - 71
American Cinematographer - February 2012 - Filmmakers’ Forum: Hiro Narita, ASC
American Cinematographer - February 2012 - 73
American Cinematographer - February 2012 - 74
American Cinematographer - February 2012 - 75
American Cinematographer - February 2012 - New Products & Services
American Cinematographer - February 2012 - 77
American Cinematographer - February 2012 - 78
American Cinematographer - February 2012 - 79
American Cinematographer - February 2012 - 80
American Cinematographer - February 2012 - 81
American Cinematographer - February 2012 - International Marketplace
American Cinematographer - February 2012 - Classified Ads
American Cinematographer - February 2012 - Ad Index
American Cinematographer - February 2012 - 85
American Cinematographer - February 2012 - Clubhouse News
American Cinematographer - February 2012 - 87
American Cinematographer - February 2012 - ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - Cover3
American Cinematographer - February 2012 - Cover4
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