{"id":821,"date":"2010-06-03T10:06:08","date_gmt":"2010-06-03T18:06:08","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=821"},"modified":"2014-05-29T22:14:15","modified_gmt":"2014-05-29T22:14:15","slug":"the-wild-bunch","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/the-wild-bunch\/","title":{"rendered":"The Wild Bunch"},"content":{"rendered":"

Mitchell Amundsen and crew capture horses, ironclads, and all that jazz for the New Orleans shot sci-fi Western Jonah Hex<\/em><\/strong><\/p>\n

<\/p>\n

Mitchell Amundsen\u2019s motto –\u00a0 \u201cthey call it a movie because everything has to move, especially the camera,\u201d has been put to good use on films like Transporter 2<\/em>, Transformers<\/em> and G.I. Joe: The Rise of Cobra<\/em>. So, naturally, Amundsen and his team jumped at the chance to bring their hyper-kinetic style to Jonah Hex<\/em>, a story set in the rare but still classic cinematic genre: the Western.<\/p>\n

Based on the popular comic book character created by writer John Albano and artist Tony Dezuniga, Jonah Woodson Hex first appeared in the 1972 DC Comics title All-Star Western #10 (the series became Weird Western Tales<\/em> two issues later). The Western anti-hero \u2013 a scarred bounty hunter with a strong personal code of honor to protect the innocent – also appeared in a number of titles and time frames, including a brief stint as a Mad Max<\/em> type character in a post-apocalyptic world. Josh Brolin plays the titular loner in the upcoming Warner Bros film, which was shot on location in Louisiana and incorporates much of the character\u2019s original history despite the project\u2019s modest budget. With strong LA state tax incentives, and a striking geographic palette to work with, Hex\u2019s<\/em> camera, grip, and lighting teams, took every opportunity to get as much bang (literally and figuratively) for their buck, helping to stage the comic book saga in anamorphic splendor. Call it high tech gunslingers set loose in the Crescent City.<\/p>\n

\"\"<\/p>\n

Tall in The Saddle<\/strong><\/p>\n

After lengthy discussions with director Jimmy Hayward, who comes from Pixar\u2019s animation department with credits on Toy Story<\/em>, Monsters, Inc.<\/em> and Finding Nemo<\/em> before helming the animated film Horton Hears a Who!<\/em>, the decision was made to employ a 50-foot Technocrane – not for a few key shots but every day.
\n\u201cThe 50-foot Techno offered massive movement to cover the horses,\u201d Amundsen shares. \u201cWe could get eye level, shoot from above, swing around, everything. We were also on really rough terrain. So, rather than build long sections of dolly track, we felt a well placed 50-footer would give us an amazing amount of shots. We put our wide zoom on the 50-foot Techno so it could wrap around for master and coverage.\u201d<\/p>\n

Amundsen singles out a sequence where he had the crane placed on a flatbed of a moving period train. \u201cThere\u2019s a little boy playing with his tin soldiers, and it looks like we\u2019re locked onto him in the window of the moving train, with reflections of a field going by,\u201d the DP describes.<\/p>\n

\u201cAll of a sudden we start pulling back and see other people looking out the windows and soon, in the reflection, we see these bad guys riding horses. We keep pulling back, seeing the whole train car, then suddenly whip around and see the bad guys in the flesh, as we keep craning on this train. There\u2019s also a shot where we\u2019re following a military officer walking through a flatbed car of soldiers and think it\u2019s a hand held or dolly shot, then it arcs and arcs and off we go, 50 feet off the train.\u201d<\/p>\n

First assistant cameraman Todd Schlopy, who has worked with Amundsen for years, says the team\u2019s A-camera alternated between a Panaflex XL and an ARRI 235, while the B-camera was a Panaflex Platinum. He calls the ARRI configuration somewhat unique.<\/p>\n

\"\"<\/p>\n

\u201cMany people are using the 235 in handheld configurations,\u201d Schlopy remarks. \u201cWe have refined a setup with a system of handles that allows us to use the rig in a fighting mode, in a great way for the operator. We use a lightweight battery belt and video transmitter, so no wires to interfere with the shot. The operator is free to hold the system very close to his body so he can make it as steady or shaky as he wants.<\/p>\n

\u201cJim Bartell\u2019s BarTech Focus Device is the perfect lightweight tool for this setup,\u201d Schlopy continues. \u201cI adapted the motors and the actual receiver in their lightest weight. There\u2019s no eyepiece to verify focus, just an onboard monitor, so the operator trusts me to get it right. With an anamorphic movie, your lenses are twice as long so you can\u2019t just set focus and hope your stop will do all the work. On this shoot we\u2019d run around focused on action from 20 feet to infinity but then land at the end on an actor in a \u2018hero close-up\u2019 at two feet, so I need a focus system that is extremely accurate.\u201d<\/p>\n

Lead operator Billy O\u2019Drobinak can testify how well the 235 and its special riggings performed. \u201cWe never stopped moving the camera,\u201d he says. \u201cWe didn\u2019t just do one style of handheld. We did slow, ethereal, then frenetic action, and then some very stable, soft handheld. Todd designed all kinds of ways to put handles on the 235 so that you could hold it and operate off the monitor, from your feet up to over your head. You could run with it, move it all around, and change the handles; it was genius on his part.\u201d<\/p>\n

Prairie Fires<\/strong><\/p>\n

Second unit camera operator Sean Fairburn, SOC also praised the modified rig. The only active duty Marine to have won an Emmy for his live action combat footage shot during Operation Iraqi Freedom, Fairburn was in the middle of the action for Hex\u2019s climactic encounter between Civil War-era ironclads, \u00e0 la\u00a0 Monitor and\u00a0 Merrimack\/CSS Virginia.<\/p>\n

\u201cI was in a head-to-toe three layer Carbon X fire-suit, and using the 235 while covering the stunt guys, who Jonah Hex was hosing down with a flamethrower,\u201d Fairburn recalls. \u201cBy looking through the monitor, I was able to move quickly and have situational awareness, always a plus when doing fire. We needed to get in close and Mitch asked: \u2018you feel good about this?\u2019 \u2018Absolutely,\u2019 I said. He saw that I was comfortable and was completely aware of my own safety and said, \u2018whatever you want to do, I\u2019m OK with it.\u2019 They lit up the stunt man and I chased him in a nice tight over, passing right down the line of fire off the edge of the boat onto the pads. I had a blast!\u201d<\/p>\n

\"\"<\/p>\n

Both Amundsen and Schlopy confess a love for their anamorphic lenses of choice, the C series. \u201cThe C Series lenses we like are optically very sharp, compact; we love the way they flare and they are very flat for anamorphic lenses,\u201d Schlopy says. Kodak 5205 and 5219 were Amundsen\u2019s stock of choice, but for the opening sequence, he used 5201 with ASA 50.<\/p>\n

\u201cJonah comes to this town where everybody\u2019s corrupt,\u201d the cinematographer describes. \u201cIt was built on this white sand dry river bed. The production designer (Tom Meyer) had to build the set with northern facing front light. He couldn\u2019t get around it. I\u2019m kind of a back light guy. Then I remembered The Proposition<\/em> where they shot a lot of front-lit stuff and also remembered The Four Feathers<\/em> where (cinematographer) Robert Richardson shot a fight in the blazing hot Sahara sun at like T2. So we had blazing front light and with the ASA 50, I opened with NDs up to a T2.4. We were at like ASA 6. The idea is bright front light with no depth of field. It has a cool, but very weird vibe.\u201d<\/p>\n

Gaffer Andy Ryan has been working with Amundsen for two decades, and their collaboration has led to a close friendship, with Amundsen even acting as best man at Ryan\u2019s wedding. Ryan said they wanted Hex<\/em> to be dark, with main source light being fire and candlelight.<\/p>\n

\u201cWhen we talk about motivating by fire, we don\u2019t use flicker boxes, we use real fire,\u201d Ryan explains. \u201cEverybody always asks us how you do your fire, it looks so good. And we always say, \u2018well, it looks good because it\u2019s fire!\u2019 We\u2019ll have the effects guys bring us flame bars because nothing looks like real fire except real fire.\u201d<\/p>\n

And because it was a period piece, Ryan said that there were no practicals. \u201cFor the night scenes we decided to illuminate with fire and a nice moon backlight,\u201d he continues. \u201cWe used 18Ks on Condors with a half CTO to give us that backlight. And then we used a lot of tungsten lamps and corrected them with a 1\/4-straw to warm them up because in the background and in many places you don\u2019t really need to see the flicker.<\/p>\n

\u201cWe\u2019d use the flame bar or a little more traditional lighting when we got in close with the actors,\u201d Ryan adds. \u201cThe last thing you want lighting Megan Fox is to have something flickering on her face. We used the traditional lighting for that.\u201d<\/p>\n

Bayou Heat<\/strong><\/p>\n

Due to the Louisiana film incentives, New Orleans area production has intensified, leading to more facilities, equipment and trained crew. Amundsen staffed his camera unit with two highly praised local hires, Jerry Jacob, SOC, who shot the film\u2019s single Steadicam and was 2nd Unit DP, and Jacob\u2019s first AC Michael Charbonnet.<\/p>\n

Both were surprised with how well specific spots in Louisiana were able to stand in for different sections of the West, including the night shoot in the French Quarter with dirt covering the streets. \u201cI was born and raised in Louisiana, and aware of the different terrain here,\u201d Jacob observes. \u201cBut I was still impressed, and give kudos to the location managers, the art department and the producers for coming up with locations that worked so well. They even built a little Mexican town, right in City Park here in New Orleans, which looked incredible. Another location was outside St. Francisville, in an old quarry that had red clay. It really looked like some of the mesas in West Texas or New Mexico.\u201d<\/p>\n

\"\"<\/p>\n

Amundsen was so impressed with Jacob and Charbonnet, that he hauled them along on his next project, the remake of Red Dawn<\/em> in Michigan.<\/p>\n

By all reports, Jonah Hex<\/em> dailies were so well regarded, O\u2019Drobinak recalls the producer relaying a studio note about another film WB was shooting, with twice the budget as Hex<\/em>, that didn\u2019t look as big.<\/p>\n

\u201cThat was a real compliment to Mitch, because he\u2019s very good at maximizing the cinematic production value of a location,\u201d O\u2019Drobinak says.<\/p>\n

As unflappable as a gunslinger, Amundsen says his style of shooting, while unique, recalls another classic American genre: jazz.<\/p>\n

\u201cEvery sequence is storyboarded and then we pick up stuff on the day,\u201d the DP explains. \u201cI\u2019m a big fan of improvising and taking advantage of the location. So, we did a lot of Jonah Hex as a jazz piece, especially with the 50-foot Techno where you\u2019re not locked in to any direction. You do your blocking, and your master, then all of a sudden you kind of play jazz on it. It doesn\u2019t take any more time because you\u2019re already lit. If you have guys that are really good, you can deliver these masters that are different every time. It makes it much more interesting. And it gets better and better for every take because you\u2019re always finding new stuff.\u201d<\/p>\n

By Ted Elrick \/\u00a0photos by Frank Masi<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Mitchell Amundsen and crew capture horses, ironclads, and all that jazz for the New Orleans shot sci-fi Western Jonah Hex<\/p>\n","protected":false},"author":1,"featured_media":3582,"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":[37,160,161],"class_list":["post-821","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-jonah-hex-cinematography","tag-mitchell-amundsen"],"acf":[],"yoast_head":"\nThe Wild Bunch - 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\/the-wild-bunch\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Wild Bunch - 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