“Friedlander and [cinematographer Gavin Kelly] plotted the cameras in a leapfrog manner, “so that we would be shooting several pieces of the sequence at once,” the director shares. Kelly says, “We shot Queen actually pulling out from the small alley on her motorcycle. Then we used the Road Runner camera car, motorcycle tow dolly and a Scorpio 23-foot telescoping crane with Libra head for closer hero shots of Queen on the bike. We mixed in some Cooke Xtal Express anamorphic lens shots of her riding the motorcycle on this rig. The Xtal Express gave dramatic flares and texture for key, signature Equalizer moments in the pilot.” (Kelly says the primary package was Panaspeed primes and various zooms on ALEXA MINI LF.)”