American Cinematographer - May 2015 - 49

lution with a 4:1 compression ratio.)
EFilm and Company 3's joint onlocation service, EC3, further supported
data management near the set. Data was
transferred each day using high-speed
RAID shuttle drives to EC3's Atlanta
unit, located in that city's Company 3
facility, where dailies were generated
based on a LUT that had been developed with EFilm DI colorist Tom
Reiser; dailies were then uploaded to the
Pix online dailies viewing platform.
(Reiser conducted the final digital grade
at EFilm in Los Angeles.)
Most of the film's car races
through the streets of Los Angeles were
actually shot in Atlanta, which created a
challenge for the lighting team. "To suit
our color tone, we ended up changing a
lot of existing fixtures in Atlanta and
adding additional ones downtown in
both cities," Windon relates.
Ambrose elaborates that the
production often had to light several
city blocks at a time, and that Windon
wanted to shoot night exteriors on what
was meant to be the streets of Los
Angeles "in the cooler blue, slightly
green color that is represented by the
recently completed LED retrofit of
most of the streetlights in Los Angeles.
Unfortunately, Atlanta still uses highpressure sodium, and some sections of
streetlights weren't working. We ended
up using metal-halide replacement

Toretto's Dodge
Charger was
rigged to a
gimbal and shot
on an exterior
bluescreen stage
(middle), and
also dropped
from a cablepulley system on
location
(bottom), to
capture the
landing for the
"snatch and
grab" action
sequence.

www.theasc.com

May 2015

49


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
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American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
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American Cinematographer - May 2015 - 73
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American Cinematographer - May 2015 - 81
American Cinematographer - May 2015 - 82
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American Cinematographer - May 2015 - 86
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American Cinematographer - May 2015 - 91
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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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