American Cinematographer - August 2013 - 45

on our road rig, which we made by
mounting the train and our Condor
‘smokestack’ on a 150-foot-long flatbed
pulled by a tractor-trailer. We used the
road rig when we were in locations that
had no track, or when we needed to go
faster than 30 mph. To get wide action
shots, we drove an Edge Crane alongside the train. We sometimes switched
out the wheels on our camera car so we
could use it in front of the train directly
on the tracks. During the shoot, we’d
finish each day by breaking down the
next day’s work. We had a great rigging
team, and a lot of things had to be
prepared overnight because our goal was
to get our first shot 1 to 11⁄2 hours into
the day.
At the end of our shoot, we spent
about 20 days on an exterior bluescreen
stage shooting bits of stunt work involving the train that we couldn’t do on
location for safety reasons or because of
time. The hard part was matching the
light so it would integrate with the loca-

tion footage, which was often captured
in many different states.
What was your dailies process,
and what’s the focus of your work in
the final timing?
Bazelli: We watched projected
HD dailies for the first three weeks of
the shoot in Albuquerque, but once we
went out on location, I reviewed
uncompressed 2MB stills that David
Lee pulled from the DaVinci after he
graded the day’s work. It was a very
efficient method. On location we
sometimes shot 10,000-15,000 feet
of film a day, and all the negative
was scanned in at 4K for dailies. To
watch all that is pretty hard! David’s
dedication to this project was great.
We received Pix dailies as well, but I
didn’t watch those because I think the
image is too compressed. In the final
grade with [colorist/ASC associate]
Stefan Sonnenfeld, we’re basically reading what was written on the day. Great
care was taken to create as much of the

look on the negative as possible by
building our days around the light. It’s a
rare production that will make that kind
of commitment these days, and everyone on the crew worked very hard to
achieve that plan. I am so lucky I could
be a part of it.
●

TECHNICAL SPECS
2.40:1
35mm and Digital Capture
Panaflex Platinum, PanArri 435, 235;
Arri Alexa Studio; Red Epic
Panavision C Series, G Series, Primo;
Frazier Lens System
Kodak Vision3 50D 5203
Pull Processing by
Deluxe Laboratories
Digital Intermediate


http://www.kinoflo.com http://www.kinoflo.com

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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