American Cinematographer - May 2014 - 22

Top: Locke's journey takes him away from a record-setting concrete pour he was to supervise,
and which he strives to keep on schedule via mobile phone. Bottom: 1st AC Ashley Bond (left)
and cinematographer Haris Zambarloukos, BSC ready one of the production's three
Red Epic cameras.

2 or 3 in the morning was that after that,
the road emptied out. We couldn't afford
more picture cars, so almost everything you
see is a happy accident. We asked our police
escort to overtake twice, and we also had a
couple of vans for the rest of the crew. I was
on a walkie-talkie, and I would sometimes
ask the driver to come closer or put his
beam lights on to give us a [lens] flare.
Why did you choose a Red Epic?
Zambarloukos: I did a bit of Red
footage for the night-car work on Jack
Ryan: Shadow Recruit, so I went into Locke
with a little homework already done. Red
was definitely the right decision for Locke,
and I picked the Epic for its size - it's very
small - and its great resolution. We shot
22

May 2014

with three cameras [simultaneously], and
we predominantly rigged them to Locke's
car and not to the frame of the low-loader.
That made it feel a bit more like Tom was
driving. We recorded in 5K [at 5:1 compression to 256GB Red SSD cards], and we got
about 26 minutes per card. We did have a
problem with one card, and I don't know
what Red did with it - it's all black magic to
me - but they managed to recover about
80 percent of the footage. It happens rarely,
but that is one of the challenges of digital.
I wanted all the dreamy nightscapes
you can create with 'Scope, so I used Panavision C Series anamorphic lenses, which I
think soften digital in a way that seems very
filmic. I also picked the C Series based on
American Cinematographer

their bokeh as well as their resolution; that
was based on an assumption that they
would work well with out-of-focus lights
but still give sharp eyes, which they did. We
predominantly worked at 800 ASA, sometimes at 1,280, so I didn't really need a very
fast stop. To my eyes, T2.8½-T4½ is the
optimum for an anamorphic lens, in particular the C Series.
Did you favor any particular focal
lengths?
Zambarloukos: We stuck within
what I would say is [the range of] normal
human vision, 35mm to 100mm. We also
used a specialty lens. I really wanted to play
with focus, and I had [previously] asked Jim
Budd at Panavision U.K. if we could make
an anamorphic Lensbaby. He said, 'You're
absolutely crazy, that can't be done,' but
about a year later, he called me up and said,
'I've made it.' I'd say it was around 50mm,
but it was never locked off. We actually
undid the screws and some of the things
that hold it together and were constantly
having it mobile. Some of the extremely
weird, distorted, out-of-focus shots were
done on this Lensbaby with an anamorphic
element added on the back, a Jim Budd
Special.
Steve pushed me to get a lot of
reflections. Usually, you have to compromise
the composition to get the best reflections
off windshields, but I've always been
intrigued by the two-way mirrors used in
3-D rigs, so I started experimenting with
putting a two-way mirror in front of the lens
and having it angled in a way that we could



American Cinematographer - May 2014

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

Contents
American Cinematographer - May 2014 - Cover1
American Cinematographer - May 2014 - Cover2
American Cinematographer - May 2014 - 1
American Cinematographer - May 2014 - 2
American Cinematographer - May 2014 - Contents
American Cinematographer - May 2014 - 4
American Cinematographer - May 2014 - 5
American Cinematographer - May 2014 - 6
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