American Cinematographer - December 2006 - 75

Humanity's Last Hope
Right: An Arri
235

was

attached to

a

Sparrow Head
and mounted on
The Two Axis

Dolly

so

the

filmmakers
could

dolly,

remotely
pan and

tilt their

camera

in

moving

vehicles,

creating
dynamic
camera angles.
Developed by
Gary Thieltges
of Doggicam
Systems, the
Sparrow Head
earned

a

Technical
Achievement
Award at the
2005

Academy
Sci-Tech

Awards. Below:
The futuristic
vehicle's real
drivers get

ready to roll.
The

crew

"duplexed" the
roof so the dolly
operator, focus
puller and
Lubezki could

operate the
camera

from

a

ledge above the
actors while

the

car was

in

motion.

darker. I didn't

impose the
cinematographer's concept of what's
right and wrong, and this really sur¬
prised them. They would say, 'Are
you sure, Chivo? Because a lot of
cinematographers ...' and I would
say, 'If it's right for the character, I'm
not going to tell you if I like it or not.'
The only mistake I made in this
regard was in a car scene, where the
want to

midwife is wearing a very bright, tan
outfit and is sitting where there is the

the

most

light. But you have to let these
in the interest of real¬
putting on an 85 filter
everything looks better but the
image isn't as complex."
Lubezki notes that not relying
on
lighting units encourages prob¬
lem-solving on location. He gives

an

mistakes go
ism. It's like

with bay windows. Despite
bright sunlight outdoors, the
day interior did not have enough fill
light. Lubezki's solution was to
cover one of the
big windows with
transparent tape and shatter its
glass; the fractured pane provides a
bright source of diffuse light.
The vagaries of natural light¬
ing mandated a constant attention
to exposure. "One of the reasons I
couldn't operate is that I was con¬
stantly changing the f-stop," says the
cinematographer. "That was the
scariest part about the shoot. As

-

example of the encounter
between Faron and the midwife in
abandoned, run-down class¬

room

the

Clive
As

enters

the classroom, he's at f2.

reveal the

room, we're almost
f4, and as he walks in toward the
window, we go to fl 1. When we go
to her, it's f5.6."
we

at

Lubezki's desire for natural¬
ism sometimes necessitated modi¬

fying the story. For example, the
scene

in which Faron and his

crew

from a rebel farm was origi¬
nally written as a night scene. "Once
they left the farm and went down

escape

66 December 2006



American Cinematographer - December 2006

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

American Cinematographer - December 2006 - 1
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