American Cinematographer - December 1996 - 80

involved a lot of handheld moves
without Steadicam. On other films,
we

always tried to capture all of the

measurements on

location to make

it easier to set up our

effects shots

back at ILM, but Jan wanted to do
his own thing, and he operated a
lot of those plate shots himself.
He'd drive a mile down the road,

handholding

a

little VistaVision

Bowcam, panning three or four
times; there was no way we could
do any measuring to help matchmove our

effects into those

He also liked to

run

plates.

45-second

ac-

j tion plates using multiple

pro¬
duction cameras, with up to eight
rolling at once, for many of the
locked-down shots, and then just
cut them all together.

"About 60 percent of our
plate shots, mostly involving de¬
bris, ended up being four-perf be¬
cause of Jan's
way of cutting. But
rather than restraining Jan, I had to
give him the ability to shoot a row
of fir trees, then try to figure out
how to put a tornado behind it

back at ILM. At

J

first,

we were

thinking we didn't want to do a lot
of tree matting with moving leaves,
but we just had to figure out how
to marry our effects into those
difficult shots." (Fangmeier also
added high-frequency camera
shake in post to further simulate
the tornadoes' rapid approach.)
When Fangmeier finally
returned to ILM, he and a skeleton
crew of effects artists
immediately

began defining new ways of
compositing twisters behind mov¬
ing trees and into DeBont's wildly
moving plates. While digital tor¬
nado designers Zargarpour and
LaBounta were content building
the tornadoes' general spherical
structure using the same technique
employed for the test, a different
approach would be needed to ren¬
der so many particles.
Says Zargarpour, "The
first test was rendered in Wavefront Dynamation and went quite

fast, but Dynamation didn't give us
the shadows that really define the
look of these huge F5 tornadoes, so
we had to add those via other tech¬

niques. For the final film, we ren¬
dered the particles using a pro¬
gram written by Florian Kainz. The
program was based conceptually
on our

78

fur

Tenderer, but it was sim-



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