American Cinematographer - December 1999 - 103

Frozen Moments and

Pop-Concert Pizzazz

A Virtual Time Machine

Top: All of the

by Jay Holben

Arriflex 35-Ills
used in the
MultiCinecam

Commercials and music videos

array are

linked
single sync
signal via a sync
box (pictured
to a

share just as

much style with the fashion
industry as they do with the motionpicture realm. Virtual showcases of the
latest technological fads, new spots are
packed by agencies and directors with
whatever is current and fresh
whether that

above) created
by Otto Nemenz.
Each camera's

phasing can be
independently

-

controlled to

glossy supermodels
form-fitting denim, or crushed blacks,

align with the

desaturated colors and selective focus

pulse. Bottom:

in

means

accomplished

master sync

Mounted in

swing-and-tilt
lenses. Each time a new technique or
piece of equipment is discovered, its use
seems to be overexploited until it threat¬
ens

with

to become as tired and outdated as

wears

off, its true value

production tool

can

be

more

at the end

of

crane

each

arm,

a

of the 12
cameras in this
MultiCinecam

polyester leisure suit.
This recursive cycle has followed
every technological advance from the
zoom lens to the morph. However, once
the initial novelty of a new technique or
a

device

an

impressive array
to a piece of 2"
bent steel pipe

rig is carefully
aligned to a
single focal
point to create

a

smooth virtual

as a

dolly around the
talent.

clearly

Compound

assessed.

moves are

The latest victim of this vicious

possible by
integrating dolly
and jib motion,
but focus pulling

cycle has been the frozen-time "virtual
camera" effect, which was extensively
outlined by one of the pioneers in this
field, Dayton Taylor, in AC Sept. '96.
After popping up in dozens of commer¬

is not

necessarily a
viable option.

cials and music videos, the 3-D freeze
gag was used to spectacular effect in the
action thriller The Matrix (see AC April

IERncoexcurfft.e,sy

Phot s

frame from each

camera

then becomes

V$4 of a second in an edited sequence.
Since every camera is fired simultane¬

'99), which features characters frozen in
mid-stride, mid-punch or mid-air as the

ously, the action captured is exactly the

rest of the world revolves around them.

same

for each

A

each

camera

the concept of stereophotogrammetry (see effects coverage of
play

on

Batman and Robin in AC Dec. '97), the

virtual-camera effect is most
achieved with

a

vast array

reflex (SLR) still

commonly

of single lens

cameras

that

are

synchronized to fire simultaneously. One

camera.

is

However, since

placed at

a

different

position around the subject, the perspec¬
tive on that action is slightly different.
When sequentially edited together, the
progressive positioning of each camera
allows a "virtual" camera to dolly around
a subject that remains perfectly frozen in

a

single moment of time.
The SLR array concept was

employed by Taylor, who used a series of
custom-built cameras linked together
and fed a single roll of 35mm film. A
Mitchell magazine, cut in half, provided
the feed and take-up.
Jim Gill, vice president of the
North Hollywood-based mechanical
effects boutique Reel Efx Inc., pioneered
several variations of this technique (a
gallery of the company's work is
American

Cinematographer 99
American Cinematographer - December 1999

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