American Cinematographer - May 2015 - 50
Q
Accelerated Action
O'Conner rescues
Ramsey (Nathalie
Emmanuel,
middle) during
the "cat and
mouse" chase
sequence.
ballasts and bulbs in every streetlight
that was in our shots, [with help from]
Atlanta electrical contractor [BBH
Electrical]."
For in-car lighting applications,
Ambrose says the production relied
heavily on LiteGear LED LiteRibbons
in various configurations, including
high-density VHO Pro 120x6 hybrids
configured for maximum color-temper50
May 2015
ature control. And for softer and wider
light, they used low-density VHO
ribbons, "because they spread the LEDs
across more space, which creates a larger
light source," Ambrose explains. "Those
ribbons are so versatile and flexible, they
can be pinned or taped to any interior
part of the car, run on small battery packs
for long periods of time, and are dimmable without color-temperature shift."
American Cinematographer
The film's action centerpiece,
dubbed the "snatch and grab," involved
dropping five cars from a C-130 cargo
plane so that they could parachute onto
a winding mountain highway and
immediately transition into a gutwrenching chase sequence that also
involved a motorcade of armored vehicles. It was decided to film the car-drops
practically and then piece them together
with staged car landings, with a practically staged chase sequence to follow.
Meglic prepped the sequence, but
he had to stay in Atlanta to prepare for
a large nighttime chase scene. So,
collaborating with second-unit director
Spiro Razatos, Haitkin served as cinematographer for the two-day aerial part
of the shoot, which was staged in Mesa,
Ariz. He says real cars were specially
gutted to reduce their weight and to
balance them properly for military-style
parachute drops from the cargo plane.
Rigged with specialized parachutes, the
vehicles were first shot inside the cargo
hold of the C-130 by two underslung
Alexa XT cameras mounted on Talon
remote heads and hanging from 25'
overhead rail systems; as each vehicle
rolled out of the cargo door at 15,000',
the cameras could track with it and then
pan back to the next car.
"I operated one of the tracking
cameras, and the second tracking
camera was operated by [Onofrio Nino
Pansini]," Haitkin explains. "We had a
chopper for air-to-air photography on
every sortie, and we had a ground
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
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American Cinematographer - May 2015 - 11
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American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
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American Cinematographer - May 2015 - 17
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American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
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American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
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American Cinematographer - May 2015 - 31
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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
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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
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American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
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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 - Cover3
American Cinematographer - May 2015 - Cover4
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