American Cinematographer - December 2006 - 56

Top: A Lenny
Arm equipped
with a Scorpio
three-axis head
was

used to

capture some
of the action in
the casino set.
Bottom: Other
shots in the

gambling parlor
captured

were

with

a

Milo

motion-control

rig equipped
with

an

adapted
Arri 435.

is done

by the second unit," says
a superb 2nd-

Meheux. "We had

Alexander Witt, who

unit director,
handled
scenes,

of the

big action
and almost any stunt where

the lead

most

actors

can't be identified in

the frame. Those shots take

a

lot of

rigs up and
people in the air, and
that takes forever. You just can't
have 150 people on the main unit
waiting around." He would discuss
key information about film stocks,
lenses, filtration, and printer lights
with all the cinematographers, and
then they would take off with their
crews. (These units used Arri 435s
time; you put wire
cranes

most

to

airport, where villains attempt to
destroy a new jumbo jet and an
errant 747 takes out a police car. The
main unit shot the primary action at
Prague's airport and at an airfield in
Surrey, England. "At the airport in
Prague, all the floodlights are

daylight blue with

a

slight tinge of

green," says Meheux. "I figured if I
was going to add light to what they
produced, the best thing to do was
use

HMIs. Then, at

the field in

Britain, I had the art department

additional towers, and we
bought about 30 of the same kind of
floodlights they had at Prague and I
put up

hold

of the time.) "In one stunt

Martin turns
flips over eight
times, and apparently that set a
sequence, an Aston
over on the road and

world record for the number of
turns

a

car

has done in midair,"

Meheux says excitedly.
Some of the action sequences
combine stunt work, digital effects

and traditional 3-D models. One
such sequence

is set at Miami
American

Cinematographer 49



American Cinematographer - December 2006

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

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