American Cinematographer - May 2015 - 59

Unit photography by Barry Wetcher, SMPSP, courtesy of Netflix.

Opposite: Matt
Murdock (Charlie
Cox) is a blind
New York City
lawyer by day
and a fearless
vigilante by
night in the
series Daredevil.
This page, top:
Murdock with
associate Foggy
Nelson (Elden
Henson). Bottom:
Cinematographer
Matthew Lloyd,
CSC (holding
camera) and
director Phil
Abraham
(pointing to
monitor) line up
a frame with
Cox.

movies for reference and inspiration, like
Taxi Driver, Dog Day Afternoon, The
French Connection, Marathon Man and
Serpico. Daredevil is a modern-day film
noir, so I also showed Matt a British vigilante crime film, Harry Brown [AC June
'10]. It has a lot of visceral camera movement and stylistic lighting from sodiumand mercury-vapor sources in a very realistic setting without cinematic romanticism."
Daredevil shot on location in New
York City with stage work at Broadway
Stages in Greenpoint, Brooklyn. Netflix's
delivery requirements stipulated a 4K
master for both 1080p HD streaming
and to accommodate the company's
nascent Ultra HD streaming rollout.
"With the incredibly physical reality of
an action show, the only 4K option at the
time was the Red Epic Dragon," notes
Lloyd. "It had durability, flexible size and
reconfigurable modes. I'd also recently
done Project Almanac on Red cameras
with a similar set of requirements: lots of
moving camera, nights, high-speed work
and 4K delivery. Panavision New York
was able to make a tethered configuration with most of the required gear in a
backpack, leaving a compact 10-to-15-

pound body, viewfinder and lens that the
operators could more easily handhold."
The Epic Dragons recorded 4K
raw Redcode files at 5:1 compression to
onboard RedMag SSDs. Lloyd notes
that 4K was chosen rather than the 6K
the Epic Dragon is capable of "because
we were delivering in 4K. We were also
shooting a lot of high-speed [footage],
and I didn't want to be constantly
switching resolutions - that can be
www.theasc.com

messy for the post folks."
Lloyd chose Arri/Zeiss Master
Primes to go with the Epics. "I've never
really encountered another set of lenses
as robust, well-made and durable as
Master Primes," Lloyd says. "We had a
full range of every available focal length
and we were shooting very dark night
scenes with a lot of stunts and fast movement. With the bulk of the show shot
between T1.4 and T2.0, our ACs were
May 2015

59



http://www.theasc.com

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
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
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
American Cinematographer - May 2015 - 51
American Cinematographer - May 2015 - 52
American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
American Cinematographer - May 2015 - 56
American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
American Cinematographer - May 2015 - 59
American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
American Cinematographer - May 2015 - 64
American Cinematographer - May 2015 - 65
American Cinematographer - May 2015 - 66
American Cinematographer - May 2015 - 67
American Cinematographer - May 2015 - 68
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American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
American Cinematographer - May 2015 - 72
American Cinematographer - May 2015 - 73
American Cinematographer - May 2015 - 74
American Cinematographer - May 2015 - 75
American Cinematographer - May 2015 - 76
American Cinematographer - May 2015 - 77
American Cinematographer - May 2015 - 78
American Cinematographer - May 2015 - 79
American Cinematographer - May 2015 - 80
American Cinematographer - May 2015 - 81
American Cinematographer - May 2015 - 82
American Cinematographer - May 2015 - 83
American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
American Cinematographer - May 2015 - 86
American Cinematographer - May 2015 - 87
American Cinematographer - May 2015 - 88
American Cinematographer - May 2015 - 89
American Cinematographer - May 2015 - 90
American Cinematographer - May 2015 - 91
American Cinematographer - May 2015 - 92
American Cinematographer - May 2015 - 93
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American Cinematographer - May 2015 - 95
American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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