American Cinematographer - August 2013 - 16

Right: To
capture a shot
of the horses
galloping over a
rise with a
helicopter in hot
pursuit,
Richardson rides
a GF-16 crane
while Martin
watches the
action from the
ground.

shoot. “We shot very rapidly. We had calls
early to capture the sun rising, and then in
the late afternoon as it was setting. It
wasn’t that we were trying to get a sunset
look; rather, we wanted to achieve a look
with natural contrast. With such a flat landscape, we were hoping to get more out of
it with low levels of light.”
The look Richardson developed for
scenes set in Nevada is one he describes as
“more extreme” than bleach bypass. “I
would describe it as an externally aggressive
high contrast that leaves virtually no color
within the image. Steph and I thought it
would be nice to maintain the feeling of
Melissa Farlow’s photograph and the style
in which she shot it. We decided that any
live-action material surrounding that would
best contrast if it had a very muted palette.”
16

August 2013

The meadow sequence central to
Wild Horses took five days to capture. The
filmmakers reserved mornings and late
afternoons to film, and trailered the horses
to shuttle them between locations during
the day. “It would have been a logistical
nightmare if we hadn’t had such a great
team behind us,” says Martin, who notes
that the film was made possible in part by
the many working relationships she and
Richardson have formed in their respective
careers.
Tool founder Erich Joiner has worked
with Richardson on more than a hundred
commercials, and the two have developed a
shorthand that serves them well under tight
deadlines. Joiner and his crew arrived on
location on the second day of production,
just in time to help capture footage for a
American Cinematographer

crucial sequence: the first time the viewer
and the horses are introduced to the helicopter as predator. Veteran horse trainer Rex
Peterson, who worked with Richardson on
The Horse Whisperer, and helicopter pilot
Rick Schuster “became deeply respectful of
each other,” according to Richardson. “Rex
felt that Rick was a phenomenally gifted
pilot, and essentially allowed him do all the
things he wanted to do because he knew
he was extremely diligent and respectful of
the horses.”
Riding the crane, Richardson kept
the cameras low enough to allow the helicopter to swoop down behind the pack of
horses and into the same frame as they
galloped over a rise. “The shot has the
appearance of being taken from a much
larger distance, but everything happened at
a very rapid pace,” Richardson remarks.
“We picked a site that allowed the horses to
rise into the frame, and that allowed us to
put the chopper directly behind the horses
at a very low altitude. Rick maintained that
low profile, and, of course, we kept the
cameras low enough to be able to utilize the
fact that we had a chopper that close to the
horses.”
For the film’s sole visual-effects shot,
in which Phantom rears up and faces the
helicopter, the filmmakers first captured
footage of the helicopter, and then shot the
horse as Peterson guided its moves with an
elaborate choreography of signals. “There
was absolutely no other way to acquire the
shot as it had been storyboarded because
Rex needed to stand directly below the helicopter in order to guide the horse,” says
Martin. Post supervisor Ron Ames and
visual-effects supervisor Adam Gerstel took
a break from their duties on Star Trek Into
Darkness to assist on Wild Horses, seamlessly compositing the footage into a single
shot.
When they weren’t capturing
footage for the helicopter sequences,
Richardson and Joiner would grab various
bits of scenery, such as hawks circling in the
sky. For a sequence showing Mills and her
friend Becks (Barbara Tarbuck) watching the
meadow from their truck, Richardson took
advantage of natural light, repositioning the
truck to catch the perfect angle of sunlight,
and then using negatives to block the rest of
the ambient brightness. “Normally, I love to



American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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