American Cinematographer - September 1992 - 92

^

c

Clairmont Strobes
now work
with Panaflexes and
Panastars.

Satin"

FILM

rejuvenated for Split Sec¬

a

the American Gas Association. As an an¬
nouncer describes the benefits of natural
gas vehicles, a man appears on screen

and

is suddenly immersed in a cloud of smog.
He is engulfed by a pile of coins before he
turns into a

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futuristic action thriller. ♦ Tape
House Digital's Michel Suissa used the
Kadenza with mutiple K-scopes to help cre¬
ate effects for "Skeptic," the :30 spot for
ond,

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globe of the earth, surrounded
by trucks and cars. Ann Marcato produced
for Brouillard Communications, and Ian
Mackenzie edited. ♦ Editing Concepts
editor Alan Morris cut a spot for Hefty
Twist-Tie Bags. The agency team from
Wells, Rich, Greene BDDP/New York
included producer Patrick Walsh, art di¬
rector Anne Turn Suden and copywriter
John Steinhardt. Greg Ramsey directed
for Fahrenheit Films. In the spot, a Hefty

bag, a garbage pail and a broom fly into the
frame, followed by a hand which pulls the
frame back, revealing the three live-action
objects to be part of the illustration on the
Hefty box. Morris sequenced the spot on
Avid, then offlined the rough cut with the

special effects element. EFX-designer/edirotoscoping
in the Kadenza and composited all the ele¬
ments. Tape House colorist John Dowdell
provided transfer services. Unusual sound
effects and "The Sorcerer's Apprentice"
(arranged by Ken Ascher and Allan Faust
of Sunday Productions/NY) were mixed
at Photomag/NY by Steve Rosen and
Chris Drozdowski. ♦ Broadway
Video Graphics recently utilized their
Alias 3D system to illustrate the growth of
a cancer cell. The :30 spot promotes Kodak's
medical imaging products for J. Walter
Thompson Healthcare Group/NY
Broadway's team, headed by 3-D computer
animation director Rafael Castelblanco,
VP/executive producer Peter Ronick, pro¬

tor Michel Suissa matched the

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ducer Joanne Tolkoff and art director
John Jamilkowski, developed an ani¬
mated breast cancer cell. The idea was to
show how the spherical cell erupts, grows

tentacles, and then anchors itself as a "hot
spot" in the breast. The fractal program on
the Alias helped Castelblanco to reproduce
the cell's irregular shape. ♦ Stay tuned
for next month's column, when "Points

East" takes you on a behind the scenes tour
de force

through the TV industry.
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A
American Cinematographer - September 1992

Table of Contents for the Digital Edition of American Cinematographer - September 1992
