American Cinematographer - May 2015 - 47
Top: Letty at the
ready. Bottom:
The crew preps
a scene with
Rodriguez.
required lenses. First AC Julie Donovan
says the 1st unit's primary lens package
included a range of Arri/Zeiss Master
Primes - 12mm-135mm - with
extensive use of an Arri/Zeiss 10mm
Ultra Prime. They also used Angenieux
Optimo 28-340mm (T3.2), 15-40mm
(T2.6) and 28-76mm (T2.6) zoom
lenses and a Fujinon Premier 18-85mm
(T2.0) zoom.
Second unit, however, faced a
wider array of applications, and among
their tools were a set of Panavision
Primo primes (14.5mm-150mm), and a
zoom collection consisting of Fujinon
Premier 18-85mm; Arri/Fujinon Alura
15.5-45mm and 30-80mm (both T2.8);
Optimo 15-40mm; and Primo 17.575mm (T2.3), 19-90mm (T2.8), 24275mm (T2.8) and 135-420mm (T2.8)
zooms. A variety of Nikon Nikkor,
Zeiss Super Speed and Panavision
Primo lenses were also used on the crash
cams. Greg Luntzel served as 2nd unit's
key 1st AC, and he notes, "We had four
camera trucks and a camera crew of 18
personnel that traveled together for well
over nine months, to Colorado,
Georgia, Arizona and California."
For certain action scenes, pulling
focus in the midst of so many people, so
much equipment and so many competing requirements was "extremely challenging," according to Donovan. "We
did a lot of long-lens work on moving
dollies, which is always difficult. In
particular, we did push-ins on each of
our main characters while they were in
their respective vehicles; we did this on
probably five or six characters over a
two-month span. We would have two
grips on the dollies, running at full
speed, while the dolly went from 35 feet
to about 10 feet. The entire time, Acamera operator Geoff Haley was
zooming in from a medium shot to an
extreme close-up. It took a few attempts
to figure out a system to do this, because
it's not something you do every day.
Steve Windon was generous on the
stop, which gave me a fighting chance.
www.theasc.com
"Sometimes we also had challenges in just finding space for the focus
pullers to be," Donovan continues.
"Everyone has their own system of how
they like to work, but often we had to
adjust to fit the scope of this movie."
In the face of such complexities,
DIT Chris Cavanaugh and second-unit
DIT Brook Willard - plus four additional DITs handling splinter units -
were tasked with managing all of the
cameras. For the most part, they all
followed the same basic workflow,
taking advantage of the convenience of
fiber-optic cabling. "The fiber ran from
the cameras to my cart, where I used
May 2015
47
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
American Cinematographer - May 2015 - 69
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
American Cinematographer - May 2015 - 94
American Cinematographer - May 2015 - 95
American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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