American Cinematographer - August 2015 - 66
◗
Personal Battles
ensure authenticity, the production
brought on two seasoned HBO Boxing
camera operators, Todd Palladino and
Rick Cypher.
As Palladino - a 13-year veteran
of HBO Boxing as a ringside handheldcamera operator - explains, "We did
multiple takes of the fight sequences,
including different camera angles, as
well as rolling straight through. [During
those extended takes] we averaged two
to four rounds of boxing, with each
round being three minutes long without
a cut, covering it like a live televised
fight. [Shooting ringside] is so intimate;
it really brings the viewer into the
action."
Palladino adds that on occasion
he's nearly been knocked out of the ring.
"You try to anticipate the direction the
boxer will go, but I've had some near
misses where the glove has hit the
camera. Once in awhile, I'll get splattered by sweat or blood, which can take
you out of the game a little bit." No
strangers to scripted drama, Palladino
and Cypher worked previously on The
Fighter and Grudge Match. "We've
become Hollywood's go-to guys for
fighting movies, I guess," Palladino
lightheartedly observes.
Fuqua and Fiore attended an
HBO match at Madison Square
Garden, both to observe and to shoot
background plates. "The visit to
Madison Square Garden for a fight was
when it all came to life," Fiore recalls.
"It's a huge, spectacular event.
Production designer Derek Hill and I
had already done a lot of research into
the HBO world of fighting, and at the
fight, we were able to walk around, talk
to every technician and even get lighting
diagrams."
The plate shoot focused on a
center block of the audience, which
would be used to re-create a 360-degree
view via visual effects. "We were collecting massive audience plates," says Fiore.
"The scale is incredible when you have
so many people."
These large audience plates were
a crucial acquisition, as the location that
would stand in for Madison Square
Top: Hope
succeeds in the
ring with his
wife, Maureen
(Rachel
McAdams), by his
side. Middle and
bottom: Camera
operator Kirk
Gardner employs
a Freefly Systems
Movi M10 to
capture unique
angles for a
hospital scene.
66
August 2015
American Cinematographer
American Cinematographer - August 2015
Table of Contents for the Digital Edition of American Cinematographer - August 2015
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American Cinematographer - August 2015 - 1
American Cinematographer - August 2015 - 2
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