American Cinematographer - April 2014 - 92

◗

5 Park City Standouts

Cinematographer/
co-director
Andrew Droz
Palermo prepares
to shoot.

During prep, the filmmakers
purchased a Red Scarlet-X, newly on
the market. Having used the Red One
and Red Epic on other projects, Droz
Palermo felt comfortable with the
Scarlet and liked its form factor. Plus, "I
felt I could build it out in a way that

92

would make it easy to run by myself. I
needed something easily changeable
from the tripod, where I wouldn't need
an AC to help me get all the gear off
and onto a new rig." Because of an order
backlog, the team didn't get the Scarlet
in time for the research shoot, so Droz

Palermo borrowed a friend's Red One.
"That shoot was physically grueling
because we had giant Angenieux zoom
lenses - I was shaking by the end of a
handheld scene," he recalls. "Michael
Wilson was my AC and shared operating with me on that first shoot, and he
helped on two other shoots as well."
(None of the research-shoot material
appears in the final.)
Once the Scarlet arrived, Droz
Palermo assembled a lean package. He
chose Canon EF zooms, 16-35mm, 2470mm and 70-200mm, all T2.8. He
eschewed a matte box, instead using a
Singh-Ray Vari-ND filter that could be
screwed onto the lens. "That was a real
time saver," he notes. There was a shotgun mic on top, a V-mount battery pack
on the back, sometimes a Clock-It Box,
and a Red Pro monitor on an articulating Israeli arm that "kept it out in front
of me so I could see my surroundings
more easily." Droz Palermo usually had
the camera on an Element Technica



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American Cinematographer - April 2014

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