◗ Hell on Wheels Left: Bobbitt films Gosling and Mendes out for a ride. Right: A smaller fixture is deployed to enhance the ambience for a night scene. time as we swept into and out of the building. They did it so well you don’t even notice it as we move from exterior to interior without a cut. Again, we wanted to maintain that sense of reality.” “We were going from an 11.2- 62 degree shutter with a T5.6 outside to a 180-degree shutter and a T2.8 inside,” adds Littee. “The tough part was hiding it. We would try to hide the [iris/shutter change] as the camera wiped through a wall or as Sean was turning a corner. I was pulling focus and the iris as Spencer did the shutter pull. We would ‘rack’ at different moments so it wouldn’t be shocking to the eye. And, because we were doing single takes, we had to repeat it on the way out!” Colorist Tom Poole graded thehttp://www.filmo-usa.com http://www.filmo-usa.com