American Cinematographer - December 2006 - 105
Wars Emotional Toll
thoughts, or any thought
other than, 'Let's do it!' That led to a
any second
instinctive approach filmically
artistically, which I really
enjoyed. And I think Irwin did, too.
How did you decide which
sequences would be shot on film?
very
and
Pierce-Roberts: We decided
shoot film for every major explo¬
sion
these were shot at 150 fps -
to
-
and for
that show three
key
getting shot during the
an Iraqi soldier who's with
scenes
characters
ambush:
the Americans, Jamal, and Jordan
Above: The
crew
sets up
for
a
key
sequence set
in a dusty
graveyard.
Right: Tommy
cradles his
best friend,
Jordan(Chad
[Chad Michael Murray]. The shoot¬
ing of Jordan, who is fatally wound¬
ed, ends the Iraq portion of the pic¬
ture. These were story points I felt
required high speed. But I feel it's a
shame we only had one film camera,
particularly for the scene showing
Jordan's death. Slowing the HD
down does
the latter
is
fatally
wounded in
gun
achieve the
of
Because
tions, we had
same
budget limita¬
very limited number
of rolls of film. We used 5218 with
an
Michael
Murray), after
not
effect.
a
Arri 435 Extreme and used
[T2.8 24and Zeiss Ultra
Optima
Angieneux
290mm]
an
zoom
Prime lenses. We did
some
tests on
a
battle with
insurgents.
the
Viper at 1080i 60, but I didn't
printed to film. By con¬
trast, the Arri footage just looked
fantastic, and we could shoot 150 fps
very easily. Knowing our limitations,
there was no point in testing or
shooting other stocks, really. If
you're using a 500-speed stock at
150 fps, you can shoot at a T8 or
like the look
Til, which is
a
reasonable amount
for action and
gives the assistants a
keep people in focus. In
the end, every scrap of 35mm
footage we shot was used, even
chance
to
when it
was
at
the tail end of
an
explosion, when we'd whip around
get an actor's reaction.
How did you deal with the
to
differences between film lenses and
HD lenses?
Pierce-Roberts: Our
digital
Fujinon, and
they all came from Plus8 Digital. My
lenses
96 December 2006
were
Zeiss and
American Cinematographer - December 2006
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