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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