American Cinematographer - December 2006 - 84

follow the actors
anymore, the take is over. But Cuaron

carbon-fiber track sections formed

took this idea of the handheld to the

above the roofless

you cannot

once

scenes

the horizontal track, which was

in the film is

moved fore and aft

uninterrupted

an

a

futuristic

car.

including Faron and
playful moment togeth¬
er and suddenly come under brutal
attack by a gang of marauders; the car
escapes with one dead passenger, only
to be stopped by two cops, resulting in
the ensuing gunplay discussed above.

fulian, have

this
the

to

a

de

tour

sequence,

left

The Two Axis

One of the most memorable

Five characters,

across

car.

dolly moved an Arri 235 on a
Sparrow Head back and forth along

six-minute shot inside

In

H-shaped rig that was suspended

complex.
something we still debate."

extreme

That's

and made it very

an

the
car

force

one-shot

camera moves fluidly
from front to rear and

right, easily placing itself

between the characters.

The

along the two
supporting parallel tracks. The cam¬
era was suspended from the dolly
into the car below and controlled by
Frank Buono, the Two Axis Dolly
operator, who was seated in a
translucent cabin above the dolly.
The camera car was steered by two
low-riding drivers, one in front and
one
behind (when driving in
reverse). Lubezki explains that the
one-shot sequence actually contains
a couple of seamless cuts, such as one
at the time of a bullet impact and
the

leaves the

this

extraordinary

one as

scene was a camera car

outfitted with

follow Faron outside.

secret to

The Two Axis

Dolly, a special rig
designed and built by inventor Gary
Thieltges of Doggicam Systems. Three

itself

camera

car

to

Looking back at the challenge
of shooting an entirely handheld
film that avoided coverage and light¬

ing, Lubezki reaffirms his admiration
for Cuaron. "You need a great direc¬
tor to

take these kind of chances. Our

over
handheld vs.
Steadicam was the first time we'd had

argument

disagreement, and in the end, I
proved me wrong." Using
the Spanish slang for chutzpah, he
a

think he

adds, "Cuaron said he wanted the
film to have huevos, and it does." ■

TECHNICAL SPECS

Super 1.85:1
(Super 35mm for 1.85:1 extraction)
Arricam Lite; Arri 235

Arri/Zeiss Master Primes
Kodak Vision2 Expression
500T 5229

Digital Intermediate
Printed

on

Fuji F-CP 3513DI



American Cinematographer - December 2006

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

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