American Cinematographer - April 2014 - 81

Valdes-Lora to "augment and shape the
available light. We used naturalistic keys
and backlights, and edged subjects with
small units. We used Litepanels 1x1
LEDs a lot, and some small Kino Flos.
Our biggest lamp was a 2.5K HMI, and
that only came out for big night exteriors."
Thanks in large part to a production plan that took advantage of locations and other resources he could access
for free, Saulnier was able to shoot Blue
Ruin in 30 days. The first four were
spent in Rehoboth Beach and Dewey
Beach, Del., where "we had a skeleton
crew of 10 people and shot everything
we could, including the opening
sequences around the beach town and
the initial part of Dwight's road trip."
The production then spent two
days at Fort Tilden in New York, where
five more people joined the crew to
shoot scenes in and around Dwight's
seemingly fossilized baby-blue Pontiac
Bonneville, which rests in the sand near
the beach, as well as a scene at a police
station, where Dwight learns that his
parents' murderer, Wade Cleland
(Sandy Barnett), will be released from
prison. The police officer bearing the
news finds Dwight sleeping in the
Bonneville's backseat. The camera
pushes through the interior of the
parked car as the patrol car pulls up
alongside. Saulnier notes, "I built into

Top: A Canon C300 was rigged atop the grip truck to get this high-angle shot following Dwight's car.
Bottom: Dwight's journey reunites him with his estranged sister, Sam (Amy Hargreaves).

the package a fantastic, 5-foot Medium
Glide camera slider from MYT Works.
With apple boxes and sandbags, we
were able to set up a 5-foot track inside
the car." Throughout the shoot, he adds,
he used the slider "to quickly do lots of
camera moves on the fly."
After reinstalling the Bonneville's
battery and inflating its tires, Dwight
drives toward the prison where Wade
will be released. Coverage inside the
Bonneville is punctuated by a highwww.theasc.com

angle traveling shot from behind as the
car heads into an increasingly dense fog.
"We lucked out with the weather and
the atmosphere," says Saulnier. "Our
production manager, Alex Orr, had the
idea to slap a suction rig on top of the
grip truck. It was made safe by Rommel
and Carlos, who did some very tricky
stuff without many resources. We did a
single 20-minute shot following the car.
What made it in the movie was the only
usable footage from the shaky ride, and
April 2014

81


http://www.theasc.com

American Cinematographer - April 2014

Table of Contents for the Digital Edition of American Cinematographer - April 2014

Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
American Cinematographer - April 2014 - 8
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American Cinematographer - April 2014 - 38
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