American Cinematographer - November 1998 - 99

pieces of wood

other, lightly brushing both ends of the

with his instruments of choice - a

floor and

spectrum." To help simulate the feeling
of old footage, he shot some of the video
at 16 fps and the rest around 24 fps.
Even though the footage ulti¬
mately appeared in black-and-white,

stocking

black

so

- two that sat on the
that went up, all painted
that we could see them." The
one

duo then shot

piece of showcard with
a grid pattern drawn on it. "The lines of
the grid indicated the vanishing points
very distinctly," says Soos.
To simplify the post process even
more, Harder opted for a static camera
throughout the shoot; all movement was
a

created within frame. "With

a

music

video, you'd think that would be the any¬
thing to do," he admits. But not moving
the camera also had a certain aesthetic

Soos chose to

use

Kodak's Vision 500T

5279 stock. "It's the most

friendly stock
for studio lighting because of its speed,"
says Soos. "I just love the contrast char¬
acteristics, which makes it easier to play
with in telecine." He used very little
filtration, other than occasional softening

cinematographer's
usual approach, but the work remained
fundamentally the same. "My job is to
serve

the director," Soos maintains.

"That's the rule of

cinematography that
change, whether you like it or
not.
Every previous philosophical
approach means nothing, unless I can
serve the director and do exactly what he

will

or

never

she wants."

1998 MTV Music Video Awards

observes, directors try to create onscreen

The 15th annual MTV Video Music Awards aired live

much rapid camera move¬
ment that the subject matter becomes
overpowered. "You don't get any energy,
you just get redundancy," he says.
Soos shot the video with his
favorite non-sync camera, the
435. "It's so versatile," he says.

Arriflex
With a
from 1-150 fps,

frame rate that ranges
"it's like an intervalometer
and

a

on one

end,

Sent"

differed from the

appeal. Too often in music videos, he
energy with so

Fogal

or a Tiffen Soft/FX filter.
On the surface, "Heaven

on

■

the cable network from

Angeles' Universal Ampitheater on September 10. Here are some of the
winners of the "Moonman" trophies bestowed at the ceremony.
Best Cinematography: Harris Savides, ("Criminal," Fiona Apple).
Best Direction: Jonas Akerlund ("Ray of Light," Madonna)
Best Editing: Jonas Akerlund ("Ray of Light," Madonna)
Best Art Direction: Donovan Davidson ("Bacherlorette," Bjork).
Best Visual Effects: Steve Murgatroyd, Dan Williams,
Steve Hiam, Anthony Walsham ("Frozen," Madonna)
Los

v-.--

high-speed Photosonics on the

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American Cinematographer - November 1998

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