American Cinematographer - September 2015 - 26

From top: The leader of the Autodefensas, Dr. José Manuel Mireles Valverde, emboldens the
community; the crew preps an interview scene with Valverde; Valverde speaks to the crowd; an
Autodefensas rally in Michoacán.

26

September 2015

American Cinematographer

however, "not necessarily knowing everything that was being said at all times probably benefited me, because if I had understood everything that was going on during
the various shootouts, I would have been a
lot more scared."
In these instances, Heineman and
Porwoll found themselves responding to their
subjects' physical reactions and body
language, as opposed to dialogue. "When a
guy runs his gun up and down someone's
face, you don't need to speak Spanish to
know exactly what is going on," says the
director.
The filmmakers used additional
cameras and rigs to photograph the
geographic landscape amid which these
conflicts play out. Striking time-lapse
sequences were created with the Canon EOS
7D and an external intervalometer, capturing
5184x3456 stills in the JPEG-fine format,
which allowed for cropping, repositioning
and maintaining exposure over the course of
dramatic light changes. Drone footage at the
Arizona border was shot by Josh Lambeth
and Noel Lucas from Birds Eye Productions,
who piloted a custom heavy-lift drone carrying a Movi stabilizer, a Canon EOS-1D C in
4K mode, and a Canon EF 24mm f2.8 IS
USM lens. The 7D and 1DC cameras
recorded to internal CF cards - the 1DC
recorded C-Log 4096x2160 in Motion JPEG
format and the 7D recorded neutral picture
profile 1920x1080 in MOV for video.
In Arizona, Porwoll also operated a
Glidecam XR-4000 with X-10 stabilizer vest,
noting that "there's only so much bouncingover-rocks footage that you can handle on a
large screen."
Heineman and Porwoll made a point
of taking time out to capture these
moments, which stood apart from the main
action. "We brought out the rigs and sliders
at the beginning or end of the day. When we
were shooting vérité, it was vérité; we would
never film with a stabilizer in the middle of a
gun battle."
The filmmakers draw a hard line
between representation and direct influence.
"You direct by choosing where to point the
camera, when you make editing decisions in
your head about coverage," Porwoll says.
"But you also have to react to what's
happening and let the subject direct the
action."
➣



American Cinematographer - September 2015

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

Contents
American Cinematographer - September 2015 - Intro
American Cinematographer - September 2015 - Cover1
American Cinematographer - September 2015 - Cover2
American Cinematographer - September 2015 - 1
American Cinematographer - September 2015 - 2
American Cinematographer - September 2015 - Contents
American Cinematographer - September 2015 - 4
American Cinematographer - September 2015 - 5
American Cinematographer - September 2015 - 6
American Cinematographer - September 2015 - 7
American Cinematographer - September 2015 - 8
American Cinematographer - September 2015 - 9
American Cinematographer - September 2015 - 10
American Cinematographer - September 2015 - 11
American Cinematographer - September 2015 - 12
American Cinematographer - September 2015 - 13
American Cinematographer - September 2015 - 14
American Cinematographer - September 2015 - 15
American Cinematographer - September 2015 - 16
American Cinematographer - September 2015 - 17
American Cinematographer - September 2015 - 18
American Cinematographer - September 2015 - 19
American Cinematographer - September 2015 - 20
American Cinematographer - September 2015 - 21
American Cinematographer - September 2015 - 22
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American Cinematographer - September 2015 - 24
American Cinematographer - September 2015 - 25
American Cinematographer - September 2015 - 26
American Cinematographer - September 2015 - 27
American Cinematographer - September 2015 - 28
American Cinematographer - September 2015 - 29
American Cinematographer - September 2015 - 30
American Cinematographer - September 2015 - 31
American Cinematographer - September 2015 - 32
American Cinematographer - September 2015 - 33
American Cinematographer - September 2015 - 34
American Cinematographer - September 2015 - 35
American Cinematographer - September 2015 - 36
American Cinematographer - September 2015 - 37
American Cinematographer - September 2015 - 38
American Cinematographer - September 2015 - 39
American Cinematographer - September 2015 - 40
American Cinematographer - September 2015 - 41
American Cinematographer - September 2015 - 42
American Cinematographer - September 2015 - 43
American Cinematographer - September 2015 - 44
American Cinematographer - September 2015 - 45
American Cinematographer - September 2015 - 46
American Cinematographer - September 2015 - 47
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American Cinematographer - September 2015 - 49
American Cinematographer - September 2015 - 50
American Cinematographer - September 2015 - 51
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American Cinematographer - September 2015 - 53
American Cinematographer - September 2015 - 54
American Cinematographer - September 2015 - 55
American Cinematographer - September 2015 - 56
American Cinematographer - September 2015 - 57
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American Cinematographer - September 2015 - 60
American Cinematographer - September 2015 - 61
American Cinematographer - September 2015 - 62
American Cinematographer - September 2015 - 63
American Cinematographer - September 2015 - 64
American Cinematographer - September 2015 - 64a
American Cinematographer - September 2015 - 64b
American Cinematographer - September 2015 - 64c
American Cinematographer - September 2015 - 64d
American Cinematographer - September 2015 - 64e
American Cinematographer - September 2015 - 64f
American Cinematographer - September 2015 - 64g
American Cinematographer - September 2015 - 64h
American Cinematographer - September 2015 - 65
American Cinematographer - September 2015 - 66
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American Cinematographer - September 2015 - Cover3
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