American Cinematographer - December 2006 - 102

Top: Price and

a

fellow officer

begin to sense
danger as the
convoy wends
its way through
crowded city
streets. Bottom:

Director of

photography
Tony PierceRoberts, BSC
takes aim.

each setting would have had a
completely different look, and we

was

would have been able

You couldn't sit in

sons:

battle

to

shoot the

slightly differently. We
could have used overcranking in all
sorts of situations, 45 fps just to slow
down important actions a little bit.
Also, 35mm film cameras are simply
more portable and more rugged.
scenes

You can

Viper

down the

run

-

and

street

with the

my operator,

George

going to be impossible to actu¬
ally get a Sony F900/3 into a truck.
and do

the

a

a passenger seat
shot of the driver, because

camera was a

meter

time it had all the bits

long by the

on

it! So

we

be

way of doing the
and it was the first
thing that made me think Vipers
might be the way to go. The cam¬
era's most important feature was
that we could put it inside vehicles

to

a

practical

in-car sequences,

Viper down to its basic
parts, put a prime lens on it, took the

with the recorder in the trunk.

viewfinder off, and worked off a side

out

stripped

a

monitor. This

configuration seemed

Finally, we saw the filmedfootage at Technicolor in Los
Angeles. [Writer's note: The footage

Richmond, was happy to do so, even
after

taking a blank round full in the
someone holding a shield
panicked - but you've got to have a
number of people running after you
face after

with the cables and the recorder.
Film would have been

a

much

more

intuitive

approach. However, the
production had already decided to
shoot the majority of the picture on
HD and make limited

use

of 35mm

for slow motion in Morocco

only.
began the camera tests,
the first thing that struck me was
that the Sony F900/3, though not a
very heavy camera, is a very long

-

As

we

camera.

Because

material

to

other

we

had

a

lot of

shoot in Hummers and

military vehicles, I thought it
American

Cinematographer 93



American Cinematographer - December 2006

Table of Contents for the Digital Edition of American Cinematographer - December 2006

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