ZEISS VICE on crappy rW | „ 6'2 4 \ j tl Michael Mann has a very dynamic visual style. His camera is static. He creates anticipation, a tension in the frame that j never that your comes from a feeling peripheral vision has been taken away. You are in the driver's seat. Achieving this on 'Miami Vice' came i j $ MQT down to a combination of great operators with almost entirely handheld cameras. A critical part of this combination was the Zeiss 6-24mm DigiZoonrf. It has a great range, is lightweight and high speed. It responded well to a variety of extreme conditions, from brilliant daylight to very to its low light night exteriors. It handled the humidity in Miami and, due compact size, allowed us to fit into some pretty the front seat of a Ferrari and the cockpit of a tight powerboat spaces, - including places one usually cannot go with a zoom. This lens lived on the A-camera. Of course the zoom capa¬ bility key. Imperceptible zooms were constantly part of the visual storytelling, was always pushing in and pulling you closer to the action. In realizing Michael's vision of 'Miami Vice', the DigiZoom was a Dcimczpno FILM & DIGITAL I INC. perfect fit.JJ Qjgn Beebe ASC ACS Burbank 81 8-841-9655 * WWW.DIGIZOOM.COM Munich * + VISIT BAND PRO 49 89 94 54 84 90 WWW.BANDPRO.COM ZEISS IBC STAND#: 11.131