The technology behind the making of ‘Public Enemies’

A turning point in the career of Public Enemies producer Bryan Carroll came when he worked as a film and visual-effects editor for James Cameron onTitanic. “That’s what sparked my interest into shooting movies digitally from script to screen,” he said. When he met Michael Mann, the director was thinking of shooting the night scenes in Ali digitally. “And that’s how I got involved with Michael, using what I had learned from many years in the digital realm,” he said. “I brought that in and building a bullet proof system, knowing we would end up on film.” He was first a co-producer on Robbery Homicide Division, the first hour-long drama shot digitally, then began Collateral working with the Thomson Viper. “This was the pinnacle of how you could really use HD in a feature film environment,” he said. “That was also the beginning of my relationship with Sony.”

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