American Cinematographer - December 1999 - 108

were Wayne, my crew and me,"
Notarile says. "We had an army of

people

people averaging over 100 hours a week.
That's
one

a

real rock 'n' roll attitude, and it's

of the

reasons

I like

working with

Wayne - he's always the last man
standing."
According to Notarile, the spot
was boarded out very meticulously.
"That is one of the required disciplines in
the advertising medium," he avows.
"When you have storyboards, it's much
easier to sell your ideas."
The commercial opens on an

Ricky Martin concert, but as
the camera pulls back, the viewer sees
that the concert is actually playing on a
television in a New York City store
image of

a

type people drinking Pepsi and enjoying
a barbecue. The angle widens to reveal
all of Los Angeles, then tilts down to
rollerbladers racing past. Following one
rollerblader, the camera is led to a nearby
sidewalk cafe, where a television in the
bar

area

is also

showing the concert.

of critical

timing involved." The shots
only very arduous to accom¬
plish with massive equipment (including

were

a

Technocrane mounted

within

a

would

30-second spot.

the fat and

later

ent

ronments that bookend the commercial
numerous

televisions

To allow the concert

screens.

footage to be

inserted later, the screens of the televi¬
sions

covered with greenscreen

Titan

"Sometimes

a very elaborate move,
and then have to find ways to cut away

footage to create the
spot: the city images that bracketed the
spot, and the concert footage that was

contained

a

design

different kinds of

integrated into it. The exterior envi¬

on

crane) but also had to somehow fit
we

Notarile needed to film two

not

speed things up," the cine¬
matographer explains.
Notarile also had to take

a

differ¬

approach to the concert lighting,
since that footage would only be seen
on television monitors. "I didn't get into

the minutiae that much, because I knew
those details would be lost," he

further, revealing people on the street,

filmed in Southern California, with Para¬

explains. "In the world of advertising,
are much quicker. The mind can
only retain certain things." In this
instance, he opted to light the concert

and then

mount Studios' backlot

with broad strokes of color.

window. The

camera

retreats

even

into the window of a
a family is watching
Ricky Martin on their own television. The
camera again pushes into the monitor,
then pulls back once more to reveal a
party scene in Los Angeles, with surfermoves

up

brownstone, where

Wti
\

\ ..W&**

The

entire

commercial

was

standing in for
City, and a Santa Monica
apartment representing the Los Angeles
location. ""We designed the bookend

Because both Notarile and Isham

New York

shots to be used

details. "There

as one

was a

shot," Notarile

tremendous about

have roots in rock 'n' roll,

they had to
keep themselves in check during the
making of the commercial, by constantly
reminding each other that they would not

DATE

THE AMERICAN SOCIETY

«*OGRESs
V

the cuts

during the shoot.

THE

SAVE

y&t

were

material

OF CINEMATOGRAPHERS (ASC)
&THE HOLLYWOOD REPORTER

i

XtKZmwmmmrk.L

Proudly Present
FILMMAKING AT THE MILLENNIUM:
FILMMAKERS CONFERENCE

SATURDAY, MAY 6, 2000
TO 7:00 pm
at the Director's Guild
8:00

S°C/fTy OF

am

of America

(DGA) Theater

7920 Sunset Blvd.
Los

Angeles, CA 90049

Contact: The

Hollywood Reporter
Special Events Department
323-525-2000
American Cinematographer - December 1999

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