American Cinematographer - July 1996 - 94
!
thought of using a gradual frame speed
change within the shot. "As it turned out,
when the shutter
was
closed down, the
undercranking [to 4 fps]
was perfectly
fine with the director, which saved us a
lot of time and money."
Lucak shot the spot with an
Arri 535 on Kodak 5293, using Zeiss
lenses. The camera's variable mirror
shutter - continuously adjustable from
11° to 180° - allowed the desired
But what about
rour
equipment?
or over
50 years,
gineered
A&J
cases
f:..
industry's finest
A/V, sound and
camera
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iy
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ry
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speed change with precise exposure
compensation. Says the cinematogra¬
pher, "This camera worked fine for this
particular shoot, but the one thing I
would point out is that it takes a second
or so for the camera to go from 24 fps to
4 fps, so we ended up cutting out that
transition segment. Because the scene
we used it for was only a second and a
half in length, we couldn't afford the time
to change speeds unless we knew we
could remove that footage in post," he
continues. "[Making that adjustment in
the camera] is nice because you don't
have to deal with changing a filter or slid¬
ing in some neutral density filtration. I've
used this feature on the Arri quite a few
times."
Before the shoot, Lucak con¬
ferred with the CGI technicians and
found that they needed something mod¬
erately dark to function as a background
putrid green cloud seen in the
opening shot.
for the
"The amount of CG in this spot
is minimal - just the green cloud and
the Cap'N's helmet - but it pays to have
Crank
Wheel
Kit
little understanding of what these
people do, so you don't do something
that will make their job more difficult,"
says Lucak, who likes to oversee his work
straight through to postproduction. "If I
can, I always try to at least follow the job
through the transfer process. I'm always
a
amazed at how much control is exercised
after the shoot. If
a
ent idea than you,
he can alter your work
colorist has
a
differ¬
significantly."
Credits
"Science
Standard Jib (13ft)
With Remote Control
Project"
Client: Quaker Oats
Cap'N Crunch Cereal
Cinematographer: Tom Lucak
Agency: Bayer Bess Vanderwarker
(Chicago, IL)
Production Company: Curious Pictures
(provided live action, special effects,
CG, and animation)
Stanton Video Services Inc
2902 E. Charleston Ave.
Phoenix, Arizona 85032
Tel
92
Fax
(602)224-6162
(602)493-2468
Director: Steve Oaks
American Cinematographer - July 1996
Table of Contents for the Digital Edition of American Cinematographer - July 1996
American Cinematographer - July 1996 - 1
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