American Cinematographer - February 1996 - 94

Table-top Technology

Probe

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always tend to look better at
higher speeds," he says, "so with those
scenes you would err on the high side."
Using the Mitchell mounted
on a portable motion-control system
run on Kuper software and operated by
Marty Rosenberg, Fante shot all of the
background plates first. Joe Lewis of
L.A.-based General Lift put the system
together and air-freighted it to the At¬

water,

lanta location.

"Steve came up with the idea
putting the system on the back of a
pickup truck, and quite frankly, I wasn't
sure those shots were going to work,"
recalls Fante. "It sort of pushed me to
figure out how to shoot the elements.
For the elements coming toward us, we
just put the camera on the ground and
let the runners go by, but on the sideangle shots, it was a bit more tricky.
What I ended up doing was shooting
without motion control and moving the
dolly in opposition to the runners while
keeping the runner's images centered
of

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angular change of the runners, so
when it was dropped into the back¬
ground plate, it looked realistic. In post
they now can track a moving fore¬
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do that. I kept the runners centered in
the frame to make it simpler to edit."

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More details about the Panasonic com¬
mercial will be covered in this column in
our March issue.

Credits:

Cinematographer: John V. Fante
Client: Panasonic

Agency: Dentsu/Tokyo

Spot

name:

"Big Game"

Visual effects director: Jeff Doud,
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Airing internationally
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American Cinematographer - February 1996

Table of Contents for the Digital Edition of American Cinematographer - February 1996
