American Cinematographer - May 2005 - 71

operating, often had the camera
mounted on a geared Panahead and
a slider during Brick's 20-day shoot.
"When time gets scarce on a lowbudget movie, the slider can make a
shot that would've been

lock-off

a

something that has a little design to
it, especially in conjunction with the
PMZ. On a 75mm lens, you can do a
small move, like a push in 2xh feet,
and you don't even see it, but on a
wide lens you do. In fact, we specifi¬
cally designed that look in May.
There

are a

where

a

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„

f i y

i r* g

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c a m

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lot of shots in that movie

little

move

creates

the feel of

a

big move - the camera moves just

a

few inches

to

reveal

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element

a new

towering over the scene. That's when
I first got the slider, and I've used it
with a geared head ever since."
In one sequence, Brendan
leads a menacing thug on a long
chase down the school's exterior

corridors, and the camera skims
the
ups

over

ground, capturing frontal closeof the characters' feet. "We

wanted

be down close

to

had the

to

the

dolly
of a Western dolly with a
really long offset and an underslung
cement, so we
on

camera

top

head,

a

Weaver Steadman," says

Yedlin. "It

was

that

tires

a

big rig with huge

could

muscle

over

anything, and the lens was right off
the ground. It doesn't look like a
perfectly smooth dolly track, but it's
not too bumpy. We actually accom¬
plished a number of moves in the
film with that double-dolly arrange¬
ment

and

Brick
at

track."

no

was

practical

shot almost

locations

entirely
in San

from

Cameras 16
Cranes

*

+

35

Lighting * Grip Equipment * Dollies
* Generators * Trucks * Transport

Remote Heads

We'll take

Clemente, California, and Yedlin says
he continually marveled at produc¬
tion designer Jodie Tillen's ability to
"not only plan out what we needed,
but also work

mm *

one source

care

of you.

the

fly when some¬
thing had to change quickly. I don't
on

know how she did it. She had that

big-budget mentality: whatever we
needed, she would get, and she did it
on our
budget."
One

of

the

unusual interiors is

a

film's

more

large mansion

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+420-234-707 500
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her@panther-prag.cz
www.panther-prag.cz
67
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