{"id":2197,"date":"2012-10-16T13:50:56","date_gmt":"2012-10-16T21:50:56","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2197"},"modified":"2014-05-29T20:01:52","modified_gmt":"2014-05-29T20:01:52","slug":"bad-boyz","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/bad-boyz\/","title":{"rendered":"Bad Boyz"},"content":{"rendered":"

Take the ultimate LAPD ride-along with the Union team behind End of Watch<\/em>
\n<\/strong><\/p>\n

More than 20 years ago, the non-scripted reality series COPS introduced the video camcorder to primetime television. The show, which derived drama simply from following around police on patrol, used unpredictable camerawork, practical lighting, non-linear editing, and a disdain (mostly to keep its budgets low) for Hollywood tradition that underscored the messiness of real life.<\/p>\n

Many scripted police procedurals that followed \u2013 Homicide<\/em>, The Wire<\/em>, CSI<\/em>, The Shield<\/em>, Cold Case<\/em>, and NCIS<\/em> \u2013 have, to some degree, embraced COPS<\/em>\u2019 cin\u00e9ma v\u00e9rit\u00e9 approach to better echo the gritty lives of their characters. But they\u2019ve all stopped short of replicating its slapdash, amateur quality, electing to keep some veneer of professional production values.<\/p>\n

End of Watch<\/em>, directed by David Ayer and photographed by Roman Vasyanov, has no fear of crossing that line. This story of two heroic LAPD patrol cops (Jake Gyllenhaal and Michael Pe\u00f1a), fast friends protecting the meanest of urban streets, updates COPS<\/em> for the YouTube generation. Ayer, who wrote the Oscar-winning Training Day<\/em>, grew up in South Central L.A. and has long-standing connections to LAPD\u2019s Newton Division, where the story is based. He says his quest \u201cto make the most realistic cop movie ever\u201d began with video supplied by his law-enforcement pals that was taken with a 640\u00d7480 HD cam clipped to a patrolman\u2019s lapel.<\/p>\n

\u201cThere was one shot [with an officer] arriving at a gun range near LAX on a suicide call,\u201d Ayer describes from the Hollywood offices where he is prepping Breacher<\/em>, starring Arnold Schwarzenegger. \u201cIt\u2019s a five minute POV \u2212 he enters, meets another cop, goes through a few doors and then finally sees the body. It was so compelling that I wanted to build a POV look for an entire film using two cops with wearable cameras to cut back and forth, a camera mounted on the dash as a master, and another handheld videocam that one of the cops is using to make his own movie. The goal was to go way beyond \u2018found footage\u2019\u2212 the characters create their own media without us putting up any rules.\u201d<\/p>\n

\"\"<\/p>\n

Rules are best broken only after they\u2019ve been mastered, <\/strong>which is why Ayer says the 22-day shot, captured on five different digital formats in real drug-ravaged South L.A. locations, could only have been pulled off by a Local 600 crew.<\/p>\n

\u201cSheer mayhem and broken bodies,\u201d the director grins, \u201cif this had not been a Union show. The lighting, operating, DIT, and focus demands were maniacal. The joke on the set was that I told Roman to light everything within seven stops and we\u2019re good to go.\u201d<\/p>\n

In fact, the 31-year-old Vasyanov, who studied classical cinematography in his native Russia with Andrey Tarkovskiy\u2019s director of photography, Vadim Yusov, says he wasn\u2019t sure he could render Ayer\u2019s vision, given the gear and limitations at hand.<\/p>\n

\u201cThe weight of the cameras was so critical to enable this POV style that David wanted,\u201d Vasyanov recounts. \u201cThe SI-2K was the best system we could find, but it was still too big and heavy [with a PL mount] to attach to the actors\u2019 bodies.\u201d<\/p>\n

Working with Michael Mansouri at L.A.-based Radiant Images, Ayer and Vasyanov designed a special housing for the SI-2K Mini that basically just encapsulated the tiny seven-watt sensor while adding a C-mount lens system.<\/p>\n

\"\"<\/p>\n

\u201cThe cabling came off the side of the camera,\u201d Ayer continues, \u201cand I had a military friend create an injection molded, vacuum-formed adjustable vest with metal plates that allowed us to mount the cameras on Jake and Michael\u2019s chests.\u201d<\/p>\n

\u201cWe also made a version for the SI-2K Nano,\u201d Vasyanov adds. \u201cSince we could not pull focus with the C-mount lenses, we were careful to keep the action within two to four feet. For anything more complex, we used the SI-2K Minis with [PL mount] Super16 High Speed Zeiss lenses, which [operator] Mick Froehlich had on an Easy-Rig. We even put the SI-2Ks on fishing pole-style rods for the intense action scenes, like when Michael takes off his gun belt and boxes with a suspected felon in the guy\u2019s living room.\u201d<\/p>\n

The fun didn\u2019t stop there. Digital Imaging Technician Arthur To (who earned the nickname \u201cthe stunt DIT\u201d for his ability to chase the actors, scramble over fences, and run up and down stairs in the sketchiest of South Central locations) says the SI-2K rigs were wired to Cinedeck units (worn on the actors\u2019 backs) that recorded to SSD mags.<\/p>\n

\u201cWe shot in Cineform Raw,\u201d To explains, \u201cwhich enabled Roman to do on-set coloring with me, and I used FirstLight to grade the references sent to E-Film.\u201d He adds that the intense conditions and number of [SI-2Ks] was unlike anything he\u2019s encountered as a DIT. \u201cA lot of the film is shot from inside Jake and Michael\u2019s patrol car,\u201d To continues. \u201cOur first AC, Drew Dumas, rigged together three SI-2Ks into the backseat, so I could check exposure levels as we drove in and out of varying levels of sunlight. I also had to monitor the stability of the SI-2K units under the extreme heat and vigorous driving conditions. Since I\u2019m a smaller guy, I was able to hide from the dash-cams pointing toward the backseat. Every now and then it would be David [Ayer], who is over six feet tall, me and Roman, crammed together in the back on these wild and bumpy rides!\u201d<\/p>\n

Mr. To\u2019s Wild Ride doesn\u2019t begin to describe the workflow <\/strong>Dody Dorn and her editorial team encountered for End of Watch<\/em>. Besides the multiple SI-2K systems, which captured at 2048\u00d71152 resolution (23.98 fps) in a 16:9 aspect ratio, four other camera formats were used. These included helicopter-mounted 5K RED Epics (captured at 5120\u00d72700 in 16:9 and down-resed to 2K at EFILM) for panoramic night exteriors of South Central L.A., a handful of car-mounted GoPros (captured in 16:9 at 29.97 fps), several Canon 5D Mark IIs (1920\u00d71080 in 16:9) for a Quincea\u00f1era party scene Gyllenhaal attends with his girlfriend (Anna Kendrick) and Pena\u2019s wife (Natalie Martinez), as well as for footage of the overlord of the Mexican drug cartel who puts out a contract hit on the two cops, and what Ayer calls \u201cour hero cam,\u201d a tiny Canon XA10 (capturing at 1920\u00d71080 in 16:9) that Gyllenhaal\u2019s character, Officer Taylor, brings to every crime scene for a film class he\u2019s taking.<\/p>\n

\"\"<\/p>\n

Dorn says End of Watch<\/em> was challenging on many levels: \u201cWorking with five different formats and 150 hours of footage, to begin with,\u201d she smiles. \u201cAnd David\u2019s style of directing \u2013 he rode in the car with the actors and fed them story points they\u2019d worked on in rehearsal as a basis for improvisation. Because there were three digital cameras rolling, we\u2019d end up with four or more takes for every scene without cutting.\u201d<\/p>\n

Given the sheer volume of material, 1st assistant editor Halima Gilliam (and apprentice editor Bob Benedict) worked closely with EFILM to deliver Dorn-transcoded, frame-rate\/aspect-ratio-standardized footage prior to the final conform and DI. And with so many different files flowing in from the set, To\u2019s role became that much more crucial.<\/p>\n

\u201cThe naming conventions [To employed] by camera groups immensely helped me keep track of all the different cameras used throughout production, post, the DI, and even when handing over to the trailer process,\u201d Gilliam reflects. \u201cI continued to use [To\u2019s] naming conventions to assign new \u201cgroup\u201d letters after production wrapped, and when 5D and Red Epic elements were still coming in.\u201d The DIT also had to maintain pristine RAW files, alongside Vasyanov\u2019s on-set color-corrected versions, so Ayer had a full chamber in the final color grade. To initiated redundancy (backups) at the point of capture, which were preserved by editorial throughout the pipeline.<\/p>\n

Dorn, who edited Memento<\/em>, is no stranger to risky narratives. She describes End of Watch<\/em> as \u201cexhilarating,\u201d and says that while Ayer\u2019s shooting script detailed the source of each camera format \u2013 Gyllenhaal\u2019s XA10 footage, gangsters with videocams, wedding videography, etc. \u2013 \u201cwe abandoned trying to explain who was shooting what early [in the editing process], because the narrative was visceral and compelling.\u201d<\/p>\n

End of Watch<\/em> announces its iconoclasm in the opening frame. \u201cIt\u2019s an extended chase scene entirely shot from the dash cam of Jake and Michael\u2019s patrol car,\u201d Dorn outlines. \u201cThere are lots of cuts, which we justify with time code jumps \u2013 each shot has a date and time stamp burn-in accurate to a real police patrol-car camera. There were three set-ups, shot five or six times, all from the dash cam. I had to work with what I was given, as we weren\u2019t going to play the scene out in real time.\u201d<\/p>\n

Was Dorn intimidated by the massive amounts of footage the new digital capture technologies produce? \u201cIf this type of workflow lets the director and actors achieve the performance levels they need, then I say fine,\u201d she offers. \u201cThe key is for everyone to be aware and allow for it. On End of Watch<\/em>, I told the producers I would need two weeks after production wrapped just to get David an assembly. I love projects where the editing is more visible, and the lack of rules on this show was liberating, and incredibly fun.\u201d<\/p>\n

\"\"<\/p>\n

At its heart, <\/strong>End of Watch<\/em><\/strong> is an operator\u2019s movie<\/strong> like none before. There was the unusual approach of asking two Hollywood movie stars to wear chest-mounted POV micro-cams and capture a running home-movie account of their characters\u2019 world. And then there was the template Vasyanov used \u2013 the 1964 Russian propaganda film, Soy Cuba<\/em>, shot by Sergei Urusevsky \u2013 for the handheld coverage that blankets the movie.<\/p>\n

\u201cSoy Cuba<\/em> used a lot of wide-angle lenses, very close to the actor\u2019s face,\u201d the DP explains, \u201cwhich worked well because we could move quite fast with the action, and the shaking wasn\u2019t as noticeable. Our operators, Mick Froehlich and Jake Avignone, were always on cameras at the same time, so the best solution for this type of approach was to light 360 degrees.\u201d<\/p>\n

\u201cThe energy of the actors and locations inform how you cover the scene,\u201d Froehlich adds. \u201cLike when Jake and Michael enter a house to find a mother and her boyfriend high on crack, and two children duct-taped in the closet. That move gave me chills, even though I knew what was coming from rehearsal.\u201d<\/p>\n

Froehlich says the SI-2K\/Easy-rig combo facilitated the v\u00e9rit\u00e9 style Ayer wanted. \u201cIt\u2019s not as cumbersome as a Steadicam, so I could be right there for the major action sequences,\u201d he continues. \u201cSpecifically the climax, when Jake and Michael are trapped by AK-47 gunfire in the apartment complex. That scene looks so real because it captures the real adrenaline of me, Roman, and the two actors pinned down in that room with gunfire exploding all around us. David [Ayer] always pushed us toward that higher level of realism, and the camera work reflects that.\u201d<\/p>\n

Working with gaffer Chris Culliton (Avatar<\/em>, Real Steel<\/em>), Vasyanov says he tested the black end of the digital sensor in an attempt to create a feeling that \u201cyou don\u2019t know where the lighting\u201d is coming from. \u201cChris had built LED panels for Mauro Fiore (on Real Steel<\/em>) with dimmable LiteRibbon fixtures on plastic that could be easily hidden in practical locations,\u201d Vasyanov explains. \u201cWe also had this amazing interactive LED rig for the driving scenes that was wired to the back of the police car, which we had on a tow trailer. Using Wi-Fi-controlled dimming, we could emulate the pulsing ambient lights from shops and the sodium vapor streetlights throughout the scene.\u201d<\/p>\n

While Ayer says he loves \u201cthe shoulders on the SI-2K, even when it clipped,\u201d the system\u2019s limited range (150 ISO) created headaches for Vasyanov.<\/p>\n

\"\"<\/p>\n

\u201cL.A. is a very dark city, if you\u2019re not shooting in downtown,\u201d the DP continues. \u201cAnd I knew I couldn\u2019t use Condors or big elements on cranes because of the kind of movie it was. The solution was to just embrace this video look, not worry about carefully matching daylight exteriors and interiors. For example, when Jake and Michael go from sunlight into this dark house, where they find all the tortured bodies of the smuggling victims: we dialed in our apertures on the fly as we walked through the scene. The biggest surprise was timing the SI-2K footage in the DI \u2013 it looked a lot like old high-speed Ektachrome, with these milky blacks and the raw kind of digital grain that we all loved.\u201d<\/p>\n

Raw visual set pieces, pushing the boundaries of what <\/strong>a <\/strong>Hollywood-style production can be, dominate End of Watch<\/em>. One such scene features Officers Taylor and Zavala charging twice into a burning house to save trapped children. Rather than using flame bars, the blaze\u2019s intensity was implied entirely with smoke and light.<\/p>\n

\u201cWith real fire and police footage, you never actually see any fire,\u201d Vasyanov contends. \u201cYou see something really bright and lots of smoke, not this beautiful texturing of flames we\u2019re used to seeing from Hollywood cop movies. David showed me a digital photograph in prep of [a real fire], and there\u2019s no resolution at all. Since the SI-2K completely blows out with a strong source light, we wanted to recreate that almost impressionistic quality when Jake and Michael are crawling through the house.\u201d<\/p>\n

Another tour de force involves an extended foot-chase, with Taylor and Zavala having narrowly escaped the cartel\u2019s assassination attempts and running for their lives through darkened alleyways. \u201cWe rented a golf cart and gyro-stabilized the SI-2K, and used Canon Super 16 zooms,\u201d Vasyanov explains. \u201cChris and I used two overhead balloons, and then hid practicals \u2013 LED Cobra heads and bowl lights from Home Depot \u2013 as side fill. Working digitally, I always like to mix color temperatures \u2013 greens, oranges, red, et cetera \u2013 because if you fall down too much with your darkness, the color can add depth to the blacks without adding contrast, which we really wanted to avoid.\u201d<\/p>\n

The horrific reality of being a cop on-foot in South Central without backup (or enough firepower) was brought bracingly to life by shooting the scene as an extended take; as Gyllenhaal and Pe\u00f1a run breathlessly through the night in real time, their chest-mounted cams capture the sweat, grime and fear.<\/p>\n

\u201cThe brilliance of this approach,\u201d Vasyanov shares, \u201cis that if we, as filmmakers, had tried to imitate the characters\u2019 POV, it would not have felt real. Seeing what Jake and Michael see, while they are in character, keeps the scene alive with surprise and tension.\u201d<\/p>\n

\u201cEveryone\u2019s chasing resolution,\u201d Ayer concludes. \u201c4K, tack-sharp lenses, Alexas with Master-Primes. I wanted to go the opposite direction and chase real, which are the iPhones, GoPros, Handy-Cams on YouTube, the way a regular person sees the world. My appetite for what would be considered an \u2018unacceptable shot\u2019 on a histogram is huge; someone almost needs to pass out for me to call cut.\u201d<\/p>\n

Having said that, Ayer is quick to admit that End of Watch <\/em>required a bold leap of faith for any professional movie crew. \u201cOne of the reasons I chose Roman is because he\u2019s so steeped in classical tradition, he would know exactly how to break the rules,\u201d Ayer smiles. \u201cThat\u2019s not to say he didn\u2019t still need some reinforcement. I remember coming in one Monday and yelling, \u2018Roman, do not watch dailies. The coverage is getting too stable and lyrical because you\u2019re freaked out by what you saw!\u2019\u201d<\/p>\n

By\u00a0David Geffner \/ photos by Scott Garfield.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Take the ultimate LAPD ride-along with the Union team behind End of Watch<\/p>\n","protected":false},"author":1,"featured_media":3392,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[95,92,93,94],"class_list":["post-2197","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-david-ayer","tag-end-of-watch","tag-end-of-watch-cinematography","tag-roman-vasyanov"],"acf":[],"yoast_head":"\nBad Boyz - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/bad-boyz\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bad Boyz - 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