American Cinematographer - August 2015 - 61

Working
onstage, the
crew and cast
- including
J.K. Simmons
(top, left) -
ready a
helicopter
scene set in
the year 2017.

Hawker's team performed the
actual bus flip, which was shot by
second-unit director and cinematographer Alexander Witt in a parking lot
with numerous cameras rolling. A Ford
F-350 camera truck followed closely to
get shots of the tires lifting off the
ground; the truck had a cowcatcher and
roll cage around it to protect stunt coordinator-driver Gary Hymes from any
impact. A GoPro Hero4 Black shooting
in 2.8K format functioned as a crash
cam, and inside the bus, the crew set up
a pair of Arriflex III 35mm cameras
shooting Kodak Vision3 250D 5207,
one simulating Sarah's perspective and
the other pointed at the spinning horizon.
"We went with film cameras
because if a digital camera loses power
while running [due to an impact], you
might lose some or all of the take," Witt
explains. "We wrapped the Arri magazines with black bags and lots of tape to
protect what we'd shot in case the magazines came off."
To execute the flip, the effects
squad installed three nitrogen cannons in
the back of the bus. The cannons used
compressed nitrogen gas to force out
pistons from a 6'-long, 10"-diameter

tube, each with 40,000 pounds of push.
The driverless bus was towed on a guide
cable, and when it reached its mark and
the cannons discharged, two 1.5"
AmSteel-Blue synthetic winch lines tied
to the front of the bus and anchored to a
large excavator helped propel the
airborne vehicle's flip.
Mitch Dubin operated the A
camera, which was most often on a
Supertechno 30 with a stabilized Libra
head, operated by crane technician Art
Villasenor and dolly grip Brad Rea.
Steadicam was handled by B-camera
www.theasc.com

operator George Billinger. Handheld
shots were used sparingly. Richard
Masino and John Kairis were A- and Bcamera
1st
ACs, respectively.
Morgenthau notes that "the camera crew
were some of the best people in their
respective fields. I was lucky to have
them. On a picture this size, it is essential
to have the strongest collaborators you
can, as it's impossible to do everything on
your own."
Morgenthau used a LUT
designed by ASC associates Josh Pines
and Michael Hatzer, Technicolor's vice
August 2015

61



http://www.theasc.com

American Cinematographer - August 2015

Table of Contents for the Digital Edition of American Cinematographer - August 2015

Contents
American Cinematographer - August 2015 - Cover1
American Cinematographer - August 2015 - Cover2
American Cinematographer - August 2015 - 1
American Cinematographer - August 2015 - 2
American Cinematographer - August 2015 - Contents
American Cinematographer - August 2015 - 4
American Cinematographer - August 2015 - 5
American Cinematographer - August 2015 - 6
American Cinematographer - August 2015 - 7
American Cinematographer - August 2015 - 8
American Cinematographer - August 2015 - 9
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American Cinematographer - August 2015 - 13
American Cinematographer - August 2015 - 14
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American Cinematographer - August 2015 - 17
American Cinematographer - August 2015 - 18
American Cinematographer - August 2015 - 19
American Cinematographer - August 2015 - 20
American Cinematographer - August 2015 - 21
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American Cinematographer - August 2015 - 24
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American Cinematographer - August 2015 - 28
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