American Cinematographer - December 2019 - 30
Lap of Honor
Ken Miles. Hewing closely to actual
history, the movie's plot - as well as
the visually rich milieu of 1960s auto
racing - offered the filmmakers a
great cinematic opportunity: to bring
audiences into the cockpit and give
them a sense of the driver's experience.
Mangold and Papamichael
built their visual grammar around
that concept, shooting close to the
action with mostly wider anamorphic
"Gaffer
Mike
Bauman came up with a
very practical solution
for a scene at the Ford
factory in Michigan,
where Henry Ford II
[Tracy Letts] shuts down
the assembly line to
address his workers. The
scene had been scheduled for a single shoot
day.
"We re-created the
plant in a cavernous
warehouse in downtown
Los Angeles. There were
large factory windows to
one side, and we
couldn't control the
direct sun or ambience
without a lot of gear, so
Mike built a giant light
box with [LiteGear]
LiteTile units that sealed right up against the windows. This box did double duty: It
sealed the windows from the direct sunlight, and it controlled our ambience
throughout the day and into night. We could dial in the temperature and intensity
through our DMX dimmer board and maintain consistency over our long 14-plushour shoot day."
- Phedon Papamichael, ASC, GSC
lenses
specially
adapted
by
Panavision to work with the production's Arri Alexa LF cameras. Key
exterior locations included racetracks
in California and Georgia, and
Cinematographer Phedon Papamichael, ASC, GSC takes five on the set of Ford v Ferrari.
30
December 2019
ASC 100th Anniversary
runways at airports in Agua Dulce
and Ontario, Calif. In Europe, the
filmmakers also made pit stops in
Monaco and the town of Le Mans.
"We had to be very economical
and fast throughout, since we had a
tight 64-day schedule," Papamichael
notes. Making that possible was a
top-notch team that included camera
operators P. Scott Sakamoto and
David Luckenbach, first ACs Cary
Lalonde and Craig Grossmueller,
gaffer Michael Bauman, key grip Ray
Garcia, and DIT Lonny Danler.
Second and splinter units were led by
Igor Meglic, ZFS and Cory Geryak,
respectively. Second-unit director
Darrin Prescott, stunt coordinator
Robert Nagle and precision driver
Allan Padelford also made crucial
contributions.
AC recently caught up with
Papamichael, who shared the following recollections of the production. ➔
American Cinematographer - December 2019
Table of Contents for the Digital Edition of American Cinematographer - December 2019
Contents
American Cinematographer - December 2019 - Intro
American Cinematographer - December 2019 - Cover1
American Cinematographer - December 2019 - Cover2
American Cinematographer - December 2019 - 1
American Cinematographer - December 2019 - Contents
American Cinematographer - December 2019 - 3
American Cinematographer - December 2019 - 4
American Cinematographer - December 2019 - 5
American Cinematographer - December 2019 - 6
American Cinematographer - December 2019 - 7
American Cinematographer - December 2019 - 8
American Cinematographer - December 2019 - 9
American Cinematographer - December 2019 - 10
American Cinematographer - December 2019 - 11
American Cinematographer - December 2019 - 12
American Cinematographer - December 2019 - 13
American Cinematographer - December 2019 - 14
American Cinematographer - December 2019 - 15
American Cinematographer - December 2019 - 16
American Cinematographer - December 2019 - 17
American Cinematographer - December 2019 - 18
American Cinematographer - December 2019 - 19
American Cinematographer - December 2019 - 20
American Cinematographer - December 2019 - 21
American Cinematographer - December 2019 - 22
American Cinematographer - December 2019 - 23
American Cinematographer - December 2019 - 24
American Cinematographer - December 2019 - 25
American Cinematographer - December 2019 - 26
American Cinematographer - December 2019 - 27
American Cinematographer - December 2019 - 28
American Cinematographer - December 2019 - 29
American Cinematographer - December 2019 - 30
American Cinematographer - December 2019 - 31
American Cinematographer - December 2019 - 32
American Cinematographer - December 2019 - 33
American Cinematographer - December 2019 - 34
American Cinematographer - December 2019 - 35
American Cinematographer - December 2019 - 36
American Cinematographer - December 2019 - 37
American Cinematographer - December 2019 - 38
American Cinematographer - December 2019 - 39
American Cinematographer - December 2019 - 40
American Cinematographer - December 2019 - 41
American Cinematographer - December 2019 - 42
American Cinematographer - December 2019 - 43
American Cinematographer - December 2019 - 44
American Cinematographer - December 2019 - 45
American Cinematographer - December 2019 - 46
American Cinematographer - December 2019 - 47
American Cinematographer - December 2019 - 48
American Cinematographer - December 2019 - 49
American Cinematographer - December 2019 - 50
American Cinematographer - December 2019 - 51
American Cinematographer - December 2019 - 52
American Cinematographer - December 2019 - 53
American Cinematographer - December 2019 - 54
American Cinematographer - December 2019 - 55
American Cinematographer - December 2019 - 56
American Cinematographer - December 2019 - 57
American Cinematographer - December 2019 - 58
American Cinematographer - December 2019 - 59
American Cinematographer - December 2019 - 60
American Cinematographer - December 2019 - 61
American Cinematographer - December 2019 - 62
American Cinematographer - December 2019 - 63
American Cinematographer - December 2019 - 64
American Cinematographer - December 2019 - 65
American Cinematographer - December 2019 - 66
American Cinematographer - December 2019 - 67
American Cinematographer - December 2019 - 68
American Cinematographer - December 2019 - 69
American Cinematographer - December 2019 - 70
American Cinematographer - December 2019 - 71
American Cinematographer - December 2019 - 72
American Cinematographer - December 2019 - 73
American Cinematographer - December 2019 - 74
American Cinematographer - December 2019 - 75
American Cinematographer - December 2019 - 76
American Cinematographer - December 2019 - 77
American Cinematographer - December 2019 - 78
American Cinematographer - December 2019 - 79
American Cinematographer - December 2019 - 80
American Cinematographer - December 2019 - 81
American Cinematographer - December 2019 - 82
American Cinematographer - December 2019 - 83
American Cinematographer - December 2019 - 84
American Cinematographer - December 2019 - 85
American Cinematographer - December 2019 - 86
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American Cinematographer - December 2019 - 88
American Cinematographer - December 2019 - 89
American Cinematographer - December 2019 - 90
American Cinematographer - December 2019 - 91
American Cinematographer - December 2019 - 92
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American Cinematographer - December 2019 - 94
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American Cinematographer - December 2019 - 97
American Cinematographer - December 2019 - 98
American Cinematographer - December 2019 - 99
American Cinematographer - December 2019 - 100
American Cinematographer - December 2019 - 100a
American Cinematographer - December 2019 - 100b
American Cinematographer - December 2019 - 101
American Cinematographer - December 2019 - 102
American Cinematographer - December 2019 - 103
American Cinematographer - December 2019 - 104
American Cinematographer - December 2019 - 105
American Cinematographer - December 2019 - 106
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American Cinematographer - December 2019 - 109
American Cinematographer - December 2019 - 110
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American Cinematographer - December 2019 - 116
American Cinematographer - December 2019 - 117
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American Cinematographer - December 2019 - 119
American Cinematographer - December 2019 - 120
American Cinematographer - December 2019 - Cover3
American Cinematographer - December 2019 - Cover4
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