American Cinematographer - September 2000 - 31
ACADEMY AWARD® WINNER
visual
cues
in the frame
-
NG
the horizon
line is most important - to keep people
grounded, give them context and prevent
them from getting motion sickness. A lot
of our sense of speed comes from periph¬
MOVING-CAM
driving shot so the viewer would
sense a lot of rushing ground beneath,
and they kept objects swirling by on the
periphery.
Motion has to be paced so that
when the big jolts come, they mean
something. The viewers brain does most
of the work in a motion film; our job is to
supply good cues. You have to create
visual suspense by foreshadowing move¬
ments. You don't just drop a viewer off a
cliff. Instead, you create a situation in
which he thinks, "We're heading for that
cliff!" before you drop him. With proper
foreshadowing, all he needs is a slight
nudge from the motion base, and the
mind takes over. Paul Pieper of Iwerks did
the motion programming for the final
1
:hievement
|
vard
eral vision. Takata and Nowell would
frame
clinical
,
*
,
_
.
Close
Range Aerial Photography
*
EUROPE
Ph
Remote Controlled Miniature
fax
are
310 581 9278
fount.
for Motion Picture and Television with
ACADEMY AWARDS® and "OSCAR" Statue
s.a.
.
310 581 9276
fax
MBwm
.
U.S.A. LOS AfigsISS
Ph.
a
.
Helicopter.
Belgium
32-4 227 3103
32-4 227 1565
registered trademarks of ©A.M.P.A.S.®
film.
Large-format lenses are relatively
plenty of light. We were
shooting at 250 ASA and 500 ASA, most
of the time around f5.6. Wide-angle
shots work really well in this medium,
and we were shooting mostly with a
40mm lens, occasionally using an 80mm
and once or twice a 28mm. Depending
on the setup, we used either 1,000' or
400' magazines of 8-perf film. One thou¬
sand feet gives you about five minutes.
There are so few 360-degree
circle films made that every one is an
experiment, and my other recent project
was no exception. The Secret of Safety,
slow and need
made in association with Zurich-based
Condor Films and
photographed in
Iceland and Munich, was the first 360
circle film project for German cinematog¬
rapher Charly Koschnick and director
Dani Levy. But Iwerks's 360 cinematogra¬
pher Gary Louzon had considerable expe¬
rience, and I was fresh from Berlin
Symphony, another 360 film that Iwerks
produced for Sony Music Box in Berlin.
The
crew
used the
eight-month
preproduction period to learn about the
process and how to use it. Levy would
ask
a
question, and
answer,
as he listened to the
his eyes would widen and he'd
31
American Cinematographer - September 2000
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