American Cinematographer - February 2012 - 53

the magic occurs you have to have all cameras rolling and smartly covered,” continues Fine. “Sometimes the horses take off and you get nothing, and sometimes you get something brilliant. We got one amazing shot where the horse really did trip. It wasn’t right for our [episode], but I’m sure they used it somewhere! “I liked using Zeiss Compact Primes on some DSLRsfor track work,” he adds. “I’d put a couple under the rail or in the dirt without an operator.” By the time Strebel stepped in to shoot Episode 4, the track work was running fairly smoothly. “It was like jumping on a train that was already in motion,” he says. At that point, the production added a second camera car and reduced the time allocated for each race. Over the course of his four episodes, Strebel tried variations on the theme. One race was filmed entirely at 120 fps — it’s the first big win for The

Old Man, a.k.a. Walter Smith (Nick Nolte), a trainer attempting a comeback. Strebel explains, “As [episode director] Phillip Noyce described it, ‘It’s God visiting this place.’” Another time, Mann walked into a prep meeting and told Strebel to “dazzle us — reinvent it.” In response, “we tracked in front of the horses with a very long lens that compressed everything,” says the cinematographer. He placed a doubler on the 24-290mm Optimo and shot from roughly 300' away, framing three riders in the moving shot. “You’d think that might be too shaky, but it looks amazing,” he notes. In the end, Mann got his organic visuals, and the cinematographers got the satisfaction of meeting an unusual challenge — plus some indelible memories. Fine recalls, “I’d begin the day with a beautiful sunrise over the mountains and fog lifting off the track. Then we’d start with these wonderfully written scenes in the stands with Dustin

Hoffman, Joan Allen, John Ortiz and all these amazing actors. Every day, walking up to Santa Anita at sunrise, I’d think, ‘I can’t wait to get on the track.’” ●

TECHNICAL SPECS
1.78:1 3-perf 35mm and Digital Capture Panaflex Platinum, Millennium XL; Arri 435, Alexa; Sony F35; Canon EOS 5D, EOS 7D, Rebel T2i Panavision Primo, Compact, Lightweight; Angenieux Optimo; Cooke S4; Canon IS, L Series; Zeiss Compact Prime; Isco Kodak Vision2 50D 5201; Vision3 250D 5207, 500T 5219

53


http://www.insightout-training.net http://www.insightout-training.net

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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