If you caught Collateral, you know it was shot entirely at night. But director Michael Mann felt that standard 35mm film would never be able to capture Los Angeles after dark the way he wanted the audience to see it.
As a result, the dramatic thriller was shot almost 80 percent digitally using several different cameras including the new Viper FilmStream and the high def -Sony CineAlta to showcase the city.
It looks so good, it's easy to get lost in the mesmerizing light patterns. Gary Jay of McKinney operated "A" camera. He also worked with the director on Ali (2001), The Insider (1999), Heat (1995) and The Last of the Mohicans (1992).
"Most of the time I was crammed into the engine compartment of a taxi being towed around town," Gary says, "and I didn't even know where I was."
|
