Sigel adds, "We always go through a dimmer system."
辛老师补充道，“我们一直会使用一套光控系统。
Sigel shot most of the picture using the 15-40mm Angenieux Optimo zoom lens.
辛老师用15-40mm AngenieuxOptimo伸缩变焦镜拍摄了影片的大部分镜头。
Sigel explains that the Trulight system allowed the filmmakers to do "real-time color correction on the set."
辛老师解释说Trulight系统让电影制作者可以“在现场实时做校色。”
By the time Sigel joined the production, it was a given that the entire shoot would happen in and around L. a.
辛老师加入剧组那会，他得知全片的拍摄工作都会在洛杉矶周边进行。
Sigel recalls that the floor used for the apartments was "way up, beyond where you can reach with Condors for exterior lighting."
辛老师回忆说，公寓场景的地板都有些“太高了，站在上面你都能够得着用作外景照明的Condor灯了。”
Sigel says Refn "wanted the film's three main driving sequences to each have its own character and not be a traditional car chase."
辛老师说尼古丁“希望这部影片中的三场主要的追车戏都能独树一帜并各有千秋。”
Sigel says Refn "wanted the film's three main driving sequences to each have its own character and not be a traditional car chase."
辛老师说尼古丁“希望这部影片中的三场主要的追车戏都能独树一帜并各有千秋。”
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