American Cinematographer - May 2000 - 131
Docs Your SR
Tap..,
the Cablecam system
in 1987 in order to
get footage of skiers and snowboarders
for
ski simulator.
"Suspending a cable
over extreme terrain was the only way to
get quality shots of skiers," he says. By
a
of the system had spread,
began getting calls from people
in the motion-picture and television
industry. The system was soon used on
1991,
news
and he
such films
as
Hook,
well
as
as
for
commercials and sports coverage.
1999,
Rodnunsky
won a
achievement award from the
In
technical
Academy
of Motion Picture Arts and Sciences for
his invention.
"Basically, the Cablecam is a
suspended between two
towers or any two fixed points," says
Rodnunsky. "We hang our camera dolly
on that ropeway and wirelessly transmit
pan, tilt and roll direction to the camera
head." The camera can be gyrostabilized
or not, though he believes that extra
stabilization is necessary only for
extremely long-lens shots (which are
generally used for sports coverage).
Cinematically, he says, Cablecam shots
ropeway
Let you switch from a basic B&W CCD
to a high-end CCI color system later?
camera
The ]-Bar Does.
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126 Russ St
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San Francisco CA 94103
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seem
to look best with wider lenses.
cable
was
voted
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On the Mountain Dew shoot, the
suspended from two towers
of built-in camera, so it can accommo¬
date whichever unit the
cinematogra¬
pher chooses. In this case, Malkin used
Arriflexes provided by the Camera House
in Van Nuys, California. "We used a
handful of 435s," says Malkin. "I believe
shot most of the spot at a 45-degree
we
shutter, and
we also used a couple of
Eyemos for some stunt work."
The cinematographer says that
he and Usher worked at both ends of the
lens spectrum: "We were
either wide
really long." The wider
lenses, he says, were Cooke S4 lenses;
on the longer side, he used a Nikkor
and close, or
300mm,
well
as
as
the Hawk-Roden-
stock 150-450mm, T2.8 zoom
lens.
Sometimes, he adds, he even put a
doubler on the Hawk-Rodenstock, effec¬
tively turning it into a 900mm lens. "That
proved to be interesting for the focus
puller, with the cheetah running right at
us
at 65 miles per
adding that his first
hour," Malkin says,
camera assistants,
Gilbert Salas and Bob Smathers, were
up to
the challenge.
Malkin shot primarily on Kodak's
EXR 10OT 5248 stock, pushed a stop to
enhance the contrast. "I think we used
some
[Vision 250D] 5246 toward the very
day as well," he says. The
end of the
(45' and 42' high, respectively) that stood
roughly 1,800 feet apart. Once the rig
was set up, the first priority was to intro¬
filtration. "I used what I call
duce it to the animals. "We flew the
something I like to
camera
back and forth, and the trainers
cameraman
also used
a
bit of green
a CC.20,
exteriors. It
use on
takes that true blue out of the
sky and
it." However,
keep the shots clean enough
walked the cheetahs to let them get
used to it," Rodnunsky says, noting that
adds
the animals seemed
more
intrigued than
frightened by the device. "At first, their
little ears went up and they tracked it
like it was something to eat!"
for effects work, he had to
When the cheetahs seemed calm
number of effects that were
a
little
in order to
more
green to
remove the
filter and add the coloration to many
shots during post.
The spot
features
a
color monitor
enough, the shoot began:
visual-effects
12V DC Power
chased
Alex Frisch and visual-effects
a
a cheetah
tennis ball, and the Cablecam
chased the cheetah. "We could follow
Audio/Video
RCA input
the cheetah, profile the cheetah, or
shoot past the cheetah," says Rodnun¬
Units in NTSC,
PAL or multi-
sky. "We shot a whole bunch of varia¬
Everyone agrees that the best
shots came early in the day, while the
cheetahs were still interested. "They got
tions."
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little bored with
us
after
a
while,"
Rodnunsky admits.
cam
is that it doesn't
supervisor and lead artist
producer
Sue Troyan of the company Method.
Frisch and Troyan were on-set through¬
out the four-day California shoot to help
Usher through some of the spot's techni¬
cal challenges. Frisch explains, "One of
the biggest problems to solve was that it
was impossible to shoot the cheetah and
the rider at the
come
with any sort
same
time." No human
mountain bike could
keep up with a
running cheetah, and even if he could,
cheetahs don't like being chased. As a
on a
One of the benefits of the Cable-
surprising
by
overseen
American Cinematographer - May 2000
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