The unique looks of Drive and Bellflower
December 7, 2011 10:21 AM Subscribe
posted by morganw (21 comments total)
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are both movies with fast cars and distinctive looks but one
had a budget 765x the other.
Drive was captured to Betamax's grandchild
, Bellflower to a Mac Book Pro.
"Refn and Sigel were inspired by the look of location-scout photos Sigel snapped using the Hipstamatic app on his iPhone. 'There are some color palettes in that program that reference retro photographic looks, like Kodachrome or Ektrachrome,'" They used production design
for their look and shot with a camera that's new and digital, but comes from
a traditional cinema photography house.
"'As part of my test, I took Ryan out in a car, and Tony and I rigged the car with a rack overhead with all different kinds of tiny lights, such as LEDs and 150-watt [Arri Fresnels],' says Sigel. 'We wired them all into dimmers in the trunk that could be wirelessly controlled, so we could turn lights off and on or dim them up and down. The lights were all so small and unobtrusive that they were never in shot, so Ryan could just drive around while Tony played the roof rack like a musical instrument. There were also times when we'd kill all of our lights -- we'd pull up to a stoplight, and you could see the light on Ryan's face go from red to green.'"
Bellflower has a
"distinctive look, credit given to cinematographer Joel Hodge's shooting style and the one-of-a-kind camera designed and built by Evan Glodell, who combined vintage camera parts, bellows and Russian lenses, around a Silicon Imaging SI-2K Mini."
"This camera does things that no other camera on the planet can do," Glodell says. "It can do tilt-shift effects with any lens. It can make a Steadicam shot from five feet away look like a telephoto shot from 100 feet away. It's like looking out of a whale's eye."
The Coatwolf Model II digital cinema camera
a drivable trailer
for holding a non-functional car and an SUV-mounted crane
while Bellflower's cameraman hung out the window.