American Cinematographer - March 2017 - 38

◗

Lust for Light

Mark, Simon
and Spud pay
their respects to
their longdeparted friend
Tommy.

for broad strokes."
In the case of T2, seven different
camera systems were deployed in the
service of four teams. Two Arri Alexa
XTs and a Mini (all in 4:3 Full mode),
one 4KSDI and two 2KSDI Flare
cameras from IO Industries, and a
Canon Cinema EOS C300 Mark II
and ME20F-SH went to the A and B
teams, operated by Dod Mantle and
Alastair Rae, and were shared with the
second unit, a.k.a. "Menu Unit," led by
cinematographer Keith Ingram and
director Garry Fraser. Aerials were
captured with a 4K Zenmuse X5R on a
DJI Inspire 1 drone flown by local
Scottish operator Peter Keith.
Consisting of little more than a
sensor box with a lens mount, the
diminutive form factor of the 2KSDI
and 4KSDI cameras was particularly
integral to Dod Mantle's handheld
shooting techniques. "A lot of it was
about the size of some of the locations
and about Danny praying to me that we
not fall behind," the cinematographer
explains. "I decided to arm myself with
cameras that would not delay me in any
situation. It was also about the vibe on
the street in Edinburgh and Glasgow,
where sometimes it was better to be less
noticeable."
A bevy of telescoping cranes, gyro
38

March 2017

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - March 2017

Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
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American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
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American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
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