Shane Hurlbut discusses his camera test in order to find the right camera to shoot with for Need for Speed.
As I embark on a long creative, exciting journey on Need for Speed with DreamWorks, I wanted to share some of my most recent findings from a five day camera test that pushed every camera to its breaking point. Our final choice was a three camera collaborative for the look and feel of this film.
The Director, Scotty Waugh, wanted to test all of the latest digital cameras that have come out recently as well as some that have been around for four years, which is rare. He wanted to find his emulsion. I am tested out, so we are going to take a break from tests for a while. Stay tuned for four upcoming posts that will start with the Black Magic camera in a few weeks.
What was immediately clear was that film was not the right choice for this project. We could not mold it and shape it into our vision. I sat blown away in the Technicolor DI suite with Mike Sowa, our colorist at the wheel. The digital file had more data, more information, more latitude, and more color depth. I am not sure if the film scanners are keeping up with the latest technology because of the impending demise of 35mm film. That is very sad. I have lensed 17 features through an eyepiece, not an electronic viewfinder. In those 17 features, my light meter, not a wave form, guided me through my quest.
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