American Cinematographer - April 1995 - 34
THE
BOCK OF THE INDUSTRY
NOW ROLLS!
vember. "People are starting to
look at commercials as films on
their own," says an enthusiastic
Clark. "They're looking at what
they can do as an art form, rather
than just selling something. It's a
hell of a challenge to compress
the whole range of cinematic
power into the 60-second format.
nettmann
cam-remote
by matthews
But the 60-second commercial is
bit as much an art form as
60-minute, 90-minute or 120minute form, with its own crite¬
ria, requirements and proce¬
every
a
dures."
While the aesthetic capa¬
bilities of digital compositing are
formidable, Clark points out the
economic
advantages of the
new
tools, especially in this era of con¬
stricted
The
choice
of the
world's
leading
directors and
*k
cameramen
,
Cam-remote™
can now
be
provided with
a
roll axis for
3 axis
operation.
*List available
on
request.
The new 70-degree-on-optical-axis roll module can be
added to the standard Cam-remote™ system. Roll
position and limits
are
viewed at the operator's monitor.
INTERNATIONAL AGENTS:
INTERNATIONAL AGENTS:
02
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The smaller
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2-axis
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available for
ISRAEL
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is
lighter film or
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can
SEE MATTHEWS
AT N.A.B. IN
LAS VEGAS!
do. I don't think it's
some¬
thing that cinematographers
should look at with fear
or
anxi¬
ety, but with enthusiasm and
citement. It's
ex¬
something that's
here to
stay."
For Molony, the most
important aspect of digital
compositing, as with any filmic
technique, is its apparent absence
in the finished product. "What I
like
best
about
[digital
compositing] is that you can actu¬
ally bury the method in the end
result," he says. "The piece
doesn't have to stand there and
signal, 'Hey, we're using effects
this!' We don't want anyone to
look at the end result and be able
to tell what was shot live-action
in the camera and what was
achieved in postproduction.
What you're seeing is reality, but
on
it's
3368
757
budgets. "Costs are con¬
stantly being questioned in
terms of the scale of production,
set construction and shooting
schedule," he states. "[Digital
compositing] adds a certain flex¬
ibility, scope and scale that other¬
wise would not be possible, while
allowing you to not sacrifice the
full possibility of what the image
an
impossible reality in the
very same way that a painted pic¬
ture is an impossible reality. It
doesn't wear its technology on its
sleeve; it just gives you an image
to marvel at."
?$-
American Cinematographer - April 1995
Table of Contents for the Digital Edition of American Cinematographer - April 1995
American Cinematographer - April 1995 - 1
American Cinematographer - April 1995 - 2
American Cinematographer - April 1995 - 3
American Cinematographer - April 1995 - 4
American Cinematographer - April 1995 - 5
American Cinematographer - April 1995 - 6
American Cinematographer - April 1995 - 7
American Cinematographer - April 1995 - 8
American Cinematographer - April 1995 - 9
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American Cinematographer - April 1995 - 28
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