American Cinematographer - April 2014 - 93
Mantis shoulder rig. "I could pull the
whole thing off the Mantis with one
easy lock," he says. "Everything would
slide off, and I could pop it on the tripod
and be ready to shoot without having to
unscrew a single thing."
Problems Droz Palermo encountered with the Scarlet included its
tendency to overheat on long takes
- he worked with three 256GB cards
that each gave him about 45 minutes of
recording time in 4K Redcode Raw -
and the sensor's relative lack of light
sensitivity, which led to "a lot of noise in
the image, particularly in rooms that
were lit with a single household bulb."
Droz Palermo used existing practicals almost exclusively, as is his preference. The only light he carried was a
Litepanels LED MiniPlus, which he
used for eyelight; only one of these
scenes made it into the final. To minimize noise in the numerous night
scenes, "the highest we went was [ISO]
1,600," he says. "I have to sing the
praises of our post house, Prehistoric
Digital in Santa Monica. We did a
pretty extensive noise-reduction workflow on a couple of key scenes." These
included Harley's nighttime walk,
when he first makes comments about
rape, and a night scene with Andrew's
dad on the front porch.
The 400-plus hours of footage
captured over the 20-month shoot
created a data-management challenge.
"We were sometimes averaging 1
terabyte a day, and we only had two 12terabyte RAIDs," he says. "We couldn't
afford to buy a RAID every time we
needed to!" A search for alternatives led
him to LTO tape, along with a CacheA deck with USB 3.0 connectivity. The
filmmakers bought enough 3TB tapes
to archive the rest of their raw data in
L.A., with backups in San Francisco.
"These tapes were much cheaper, about
$60 each," he notes. "In the end, I think
we had 60 to 70 terabytes of data."
Spending so much time with
their subjects, the filmmakers naturally
developed a bond with them. "For me,
the greatest reward was and still is the
relationships we forged with the families," Droz Palermo states. Since wrapping the documentary, he and Droz
Tragos have launched an outreach
campaign with various youth and
poverty organizations nationwide. And
to the documentary's subjects, the
cousins have made it clear that they're
just a phone call away. "These kids need
a lot of things, but it's not all material
stuff," says Droz Palermo. "Often they
just need friendship and love, and that's
something Tracy and I can provide."
- Patricia Thomson
●
93
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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
American Cinematographer - April 2014 - 9
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American Cinematographer - April 2014 - 11
American Cinematographer - April 2014 - 12
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American Cinematographer - April 2014 - 14
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American Cinematographer - April 2014 - 16
American Cinematographer - April 2014 - 17
American Cinematographer - April 2014 - 18
American Cinematographer - April 2014 - 19
American Cinematographer - April 2014 - 20
American Cinematographer - April 2014 - 21
American Cinematographer - April 2014 - 22
American Cinematographer - April 2014 - 23
American Cinematographer - April 2014 - 24
American Cinematographer - April 2014 - 25
American Cinematographer - April 2014 - 26
American Cinematographer - April 2014 - 27
American Cinematographer - April 2014 - 28
American Cinematographer - April 2014 - 29
American Cinematographer - April 2014 - 30
American Cinematographer - April 2014 - 31
American Cinematographer - April 2014 - 32
American Cinematographer - April 2014 - 33
American Cinematographer - April 2014 - 34
American Cinematographer - April 2014 - 35
American Cinematographer - April 2014 - 36
American Cinematographer - April 2014 - 37
American Cinematographer - April 2014 - 38
American Cinematographer - April 2014 - 39
American Cinematographer - April 2014 - 40
American Cinematographer - April 2014 - 41
American Cinematographer - April 2014 - 42
American Cinematographer - April 2014 - 43
American Cinematographer - April 2014 - 44
American Cinematographer - April 2014 - 45
American Cinematographer - April 2014 - 46
American Cinematographer - April 2014 - 47
American Cinematographer - April 2014 - 48
American Cinematographer - April 2014 - 49
American Cinematographer - April 2014 - 50
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American Cinematographer - April 2014 - 62
American Cinematographer - April 2014 - 63
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American Cinematographer - April 2014 - 66
American Cinematographer - April 2014 - 67
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American Cinematographer - April 2014 - 70
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American Cinematographer - April 2014 - Cover3
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