American Cinematographer - April 2007 - 75

photography similar to those to be
used onstage, as opposed to the
usual practice of shooting plates in
focus.)

Obviously, the sync of fore¬
ground to background action is
built into the composite and can't be
easily adjusted in post. The upside is
that the actor can see what's hap¬
pening on the plate (perhaps with
the help of an off-camera mirror)
and time his actions accordingly.
High and low angles are diffi¬
cult to do with projection, although
the projector beam can be folded
with a mirror to keep the equipment
out of the permanents or a pit.
Although it's a big timesaver
to shoot front and side plates simul¬
taneously on the camera car (or
even six plates simultaneously, as we
did
side

on

The Fast and the Furious), the

plates will generally look too
fast for the typical dialogue scene.
The traditional practice of discount¬

ing the car speed of the side plates to
of the forward speed still
applies; even so, close foreground
bushes and the like may still whip by
disconcertingly fast. When the sub¬
ject matter permits, and it's not nec¬
essary to sync the projections, the
frame rates can be varied according¬
ly in multi-camera rigs.
A windshield-reflection plate
shot straight up can be projected on

are
glass-smooth, a stabilizer, such as
the Libra Head, is very desirable.
The background has a limited

second, horizontal screen above
the car, but because of glass curva¬
ture, that screen might need to be

Stump, ASC for invaluable advice,
and Adi Gil of American High
Definition in Van Nuys, California,
for loaning equipment for testing. For
more information on rear-projection
techniques, see the American
Cinematographer Manual.
■

60 percent

a

quite wide, adding to the lighting
challenge. On Georgia Rule, we had
cloudless skies and

no

trees over¬

head, so we did not use a windshield

brightness range compared to the
foreground, so print timing range is
reduced.

Finally, it goes without saying
that the foreground and background
cameras

should match in lens focal

length, lens height and lens angle!
The

author

thanks

David

reflection.
For

dialogue

scenes,

it's

important to avoid jarring bumps
in the

background photography,
really be duplicated or
synchronized onstage. Unless the
roads on which the plates are shot

which

cannot

LEE Filters
r/

III ■ THe ART OF LIGHT
Tel: 818-238-1220

"JT 7

mm WI

■

www.leefiltersusa.com
75



http://www.leefiltersusa.com

American Cinematographer - April 2007

Table of Contents for the Digital Edition of American Cinematographer - April 2007

Contents
American Cinematographer - April 2007 - Cover1
American Cinematographer - April 2007 - Cover2
American Cinematographer - April 2007 - 1
American Cinematographer - April 2007 - 2
American Cinematographer - April 2007 - Contents
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