00:00Shooting action sequences is like shooting ballet.
00:04It's a dance and there's a rhythm to it.
00:07Henry Bram is our director of photography,
00:10and unusually, he's also my key camera operator.
00:14We wanted the camera to be very connected to the characters.
00:19What we're looking for is for the camera to be James' voice
00:22and to be expressive of his voice.
00:24One, two, three, bam!
00:26Bam!
00:29I really like the mobility of the red cameras.
00:32We're able to get in there and get intimate with actors
00:34in a way that you don't normally see on a movie like this.
00:37Superman.
00:38Miss Lane.
00:39Then you can reveal to the audience where you are
00:41and how you are in much more subtle ways.
00:45Allowing me to move absolutely anywhere
00:47enables James to be much more fluid, particularly with action.
00:51Hey, buddy! Eyes up here!
00:54If you think about cinema history,
00:56Buster Keaton was working with a tiny little camera,
00:58and he was unbelievably inventive.
01:00We've seen a revolution in the red technology
01:03that will set directors free
01:05that want to shoot in this way.
01:07So I, you're so excited to see the comics and have done with art in the shadow.
01:16Maybe fixed James' voice to Lewis XO number,
01:21right?
01:22You've seen the new series of characters yeni come from the background with the Trimoriumц
01:24, right?
01:26To be honest, how large of the Halo nam talent and structure where the papel technique
01:27will be difficult to have?
01:28So now僕, I find new that.
01:30It's half since I'm not just trying to realize the main thing,
01:32I'maya keen on this attack here.
