Public Enemies meinattiin kuvata filmille, mutta siitä tuli kuitenkin HD-tuotanto – In the end, the F23’s rendering of night scenes sealed the deal. “This movie has a lot of night action, including a lot of gunfights on city streets, so the digital camera’s higher sensitivity and ability to see into shadows was a major benefit,” says Spinotti. “Also, we believed digital would facilitate a more dynamic use of film grammar while giving us a hyper-realistic look.”
The Taking of Pelham 1 2 3, shot by Tobias Schliessler – Niin just: "We did one camera on a 360-degree circle track, constantly moving, searching and pushing in with the zooms. " – Mutta alkuperäisen leffan kuvaajasta: "A third character of sorts was just as important: New York City. Charged with capturing that gritty “New York-ness” on film was Brooklyn native Owen Roizman, ASC, who had notched Oscar nominations for The French Connection (1971) and The Exorcist (1973)."
