American Cinematographer - September 2004 - 30

transition shot, getting us from the evil
world outside into her house and her

life," says Garfath. "A zoom was the
easiest way to do it because we didn't
have the time or the money to use a big
camera

crane."

Lest one think I'll Sleep

When I'm
completely convention¬
ally, the cinematographer calls attention
to the film's numerous nighttime car
interiors, which where photographed
using a blend of old and new methods.
"Mike absolutely hates going out at
night and shooting cars," Garfath
explains. "With all the new tricks, such
Dead

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the low loaders and Shotmakers, he

actually
properly. He
wants to be in the car with them, seeing
their performances. He decided the only
way was to accomplish that was to
shoot those scenes in the studio using
rear projection." Of course, traditional
rear projection, in which the projected
film footage has to be locked in sync
with the camera, can be complex and
time-consuming. "We were chatting

wireless
lens
control
I"
'*"■

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control

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and hear the actors

about it beforehand," Garfath recalls,
"and my camera

assistant, Rawdon

up with the idea of a using
flat-screen television as a background

Hayne, came
a

plate. I think he had done it before on a
music video.

"So we went out at night with a
tracking vehicle and put three Sony
DigiBeta cameras on it - one shooting
straight back, and one on each threequarter angle," he continues. "We drove

around the streets of London for an hour,
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shooting video. We gave that footage to
the editor, and he cut out anything that

interesting. In some scenes we
needed dark streets, and in others we
needed well-lit streets. Then we put the

was

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could

the video

footage, which we'd
of focus. If we were shoot¬
ing out the side window, we would use
the plates that we shot on the threequarter angle looking backwards and put
ran

shot very out

the

screen

Sometimes,

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we

the

side window.

had shots where

seeing the back window and the
side window, and we used only one

were

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American Cinematographer - September 2004

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