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Cinematographer Paul Cameron, ASC, on The Commuter
By Kevin H Martin | Film & Video Magazine | January 29, 2018

Shooting a New York Train on a U.K. Set, Pulling Depth-of-Field with CineFade, and Keeping HDR Under Control

In The Commuter, Michael MacCauley [Liam Neeson] seems to be having one of those days. First, the ex-cop loses his insurance job. Then, while commuting home, he finds himself drawn into a conspiracy that will play out with deadly consequences on — and eventually right off — the rails. This film marks the fourth time Neeson has worked with director Jaume Collet-Serra, after their popular collaborations on the thrillers Unknown, Non-Stop and Run All Night. The filmmaker selected Paul Cameron, ASC, as his director of photography. Cameron, whose work on the pilot episode of HBO's Westworld was profiled in Studio Daily last year, relates the challenges involved in filming a set-in-New York tale entirely on U.K. soil, with all its train interiors shot on soundstages.

Studio Daily: With all the action and camera movement, did you rely on any previs?

Paul Cameron: It wasn't necessary. I had worked with the director years back on commercials, so we were already comfortable designing sequences together on our own. There was some previs [from Nvizible] for visual effects supervisor Steve Begg to plan out the actual train crash, but that was about the CG effort [handled principally by Cinesite, aided by Iloura], not the live-action. However, we did do some storyboarding for our end of things, which helped with planning the dynamics. There were a lot of really extreme and dramatic moves to accomplish in very tight spaces, so I chose the ARRI Alexa Mini [provided by ARRI London.]
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Article provided by Film & Video Magazine

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