American Cinematographer - May 2015 - 46
Q
Accelerated Action
Top: Toretto is
back behind the
wheel of his
infamous Dodge
Charger. Middle
and bottom: A
camera-crane
vehicle was
utilized to capture
scenes between
Letty Ortiz
(Michelle
Rodriguez) and
Toretto.
a kind of 'golden California' throwback
look. We wanted to remind fans where
[the characters] come from, with Race
Wars and hot cars, guys on motorcycles,
sexy girls in the golden California sun
and all that. The difference [between
Furious 7 and the previous films] is not
so much in the palette as the story,
which slowly starts to expand out of the
Mojave Desert, out of California and
then out of the U.S. - it gets global
when we go to Abu Dhabi. So it is a
bigger story in that sense, with a global
military theme. But visually, we try to
take [the characters] back to their
roots."
The filmmakers shot primarily
with Arri Alexa XT cameras, and
certain sequences called for as many as
10 Alexas on set. Additional cameras
included Alexa XT Ms, Sony F55s and
Red Epic Dragons. Arri 235 and
Arricam LT film cameras were used for
select action sequences, and second unit
also employed Arri 435s, 35 IICs and
IIIs, as well as Bell & Howell Eyemos.
The film cameras rolled Kodak Vision3
250D 5207 and 50D 5203, framing for
2.40:1 in 4-perf Super 35mm.
Two vendors - Panavision
Woodland Hills and Otto Nemenz -
were needed to supply all of the
46
May 2015
American Cinematographer
American Cinematographer - May 2015
Table of Contents for the Digital Edition of American Cinematographer - May 2015
Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
American Cinematographer - May 2015 - 16
American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
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American Cinematographer - May 2015 - 27
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American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
American Cinematographer - May 2015 - 44
American Cinematographer - May 2015 - 45
American Cinematographer - May 2015 - 46
American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
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American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
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American Cinematographer - May 2015 - 58
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American Cinematographer - May 2015 - 60
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American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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