American Cinematographer - November 1992 - 69

us

total control

Single Frame Motor &

the composi¬
using 5296 500

over

tion. If I had been

Intervalometer for Arri 35111
Crystal shutter speeds -1/16

*

ASA, the usual stock for such a situ¬
ation, my T-stop range would have

*

fallen between 11 and 16.
"Another thing about us¬
ing such stops that a lot of people
might not consider is that it has an
influence on how the film will be

sec. to over 8

min.

time exposure (8,194 possible)
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edited," he adds. "If I have a wider
shot and everything is crisp, we can

stay on it longer than if I were us¬
ing a fast stop. The audience can see
faces much
viewer goes

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frustrated, and this frustration
leads the editor to cut away more
quickly to a close-up. If everything
is clear and sharp, I have the free¬
dom to linger on a wide shot; the
emotions can build up for longer
before we cut to the close-up. I dis¬
covered this in my experience ed¬

iting. It's one of the big differences
between film and TV; because of
the clarity of the film image, one can
stay with a wider shot longer, giv¬
ing the editor that extra fraction of
second."
The camera system of
choice was a Panavision Gold cam¬
era with a Panavision X as a
a

backup. Sekula used the entire
range of Primo prime lenses, but
went to a 600mm Canon lens for the

film's unusual credit sequence, in
which the cocky felons stride to¬
ward the camera en masse in super

slow-motion, luxuriating in their
criminal savoir

faire. The title se¬
quence and a later bar sequence
were shot
normally at 24 frames per

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second, with the slow-motion effect
added

via step-printing in
postproduction. "Every second
frame was printed," Sekula reveals.
"Quentin was against filming at
high speeds, because the step-print¬
ing would give us much more fluid,
poetic movement. We wanted to
give these gangsters a sort of un¬

natural slowness."
The filmmakers did

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]
American Cinematographer - November 1992

Table of Contents for the Digital Edition of American Cinematographer - November 1992
