American Cinematographer - December 2006 - 14
such
a
system, he adds, is that it's very
accidentally hit the shutter
speed, auto-iris, auto-white, and auto¬
gain controls. "There's a lockout switch,
but it's impractical to use when you
need to grab and shoot," he notes.
Von Puttkamer has high praise
for the 42 porters, local Pemon Indians,
who carted the company's 3,000-odd
pounds of gear. "Our biggest grip would
be put to shame by a 100-pound Pemon
woman scampering barefoot over the
rocks with a 60-pound generator or Peli¬
easy to
can case
in
a
hand-woven basket
on
her
back!" But sometimes,
Taylor found the
equipment he needed on the trail had
been prematurely whisked away to the
next campsite. "We soon realized that
some of the porters wanted to make
multiple trips to increase their earn¬
ings," he says. "As we were shooting on
the trail, we'd start to see the same
porters who'd left base camp early in
Above: A
crew
daring
member
handles a 12"
South American
centipede
(scolopendra
gigantea). Right:
The production
crew
dons
hardhats inside
Crystal Eyes
Cave, found at
the summit of
Mount Roraima.
From left to
right are
cryptozoologist
Dean Harrison
(far background),
B-camera
operator Nash
Stevanovic, grip
Matt Richie,
Taylor,
von
Puttkamer,
soundman Jon
Ritchie and
Dittrich.
12 December 2006
that
would
inadvertently hike out of
radio range!" recalls Taylor.
The
cinematographer took
advantage of the Z1U to capture the
long marches between locations. "We
we
knew we needed
a
small
camera
to film
verite-style on the trek, and the advan¬
tages of the Z1U were enormous. The
inherent style that comes from shooting
from the hip with a small, lightweight
camera gives the viewer a certain inti¬
macy with the image." The downside of
the
morning heading back for
load!" So the
camera crew
a second
selected four
porters to remain with them at all times.
One porter was responsible for
production's Cambo jib arm, which
fit onto a standard Sachtler tripod and
the
American Cinematographer - December 2006
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