American Cinematographer - September 2000 - 32

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Another sequence of the ride-simulation
left is renowned aerial cinematographer

film was photographed in the Italian Alps. At
David Nowell, who came down to earth to
photograph Panorama Tour, and kneeling is 1st AC Scott Smith.

back and work on the script. Producer
Kristian Widmer and I worked closely

go

a live-action,
dramatic mini-feature in the 360 format,

together to produce
a

true-life tale told to

a

young

girl by her

grandfather.
When

you're working with nine
don't waste film.
Just getting a slate and then stopping
uses up 450' of film. The Iwerks 360 rig
we used was developed by Don Iwerks
and is a descendant of the original
Circlevision rig he developed when he
was a supervisor in the machine shop at
Disney Studios. The cameras, electroni¬
cally synchronized, shoot straight up into
nine mirrors, capturing the image at a 90degree angle. The mirrors enable you to
get a seamless image because you can
align them in a way that you can't align
cameras

the

at once, you

cameras.

We outfitted it with Arri 3

which have a single claw pull¬
down, from Arri headquarters in Munich.
cameras,

The 32mm lenses

are

custom-made to be

exactly the same. Each camera's field
overlaps the next by a few degrees.
An inherent parallax comes into
play with foreground/background action
because each

camera

has its

own

center

point. It shows up when all of your lenses
focused on something in the fore¬
ground, so you have to be judicious about
where you place the action. Parallax in
the background is minimal and often not
are

Staying out of your own picture is
tough enough when filming in 8/70 for
screen.

plain in Iceland, the

operator and crew have two
choices: find a hill or lie on the ground. At
camera

times we had the

rig, which weighs close
pounds, on a Fisher 11 or a
Panther dolly. Dolly grip Terry Wimmer
spent a lot of time on the ground nudging
it along. When we were ready to roll,

to 700

camera

assistant Scott Smith and Louzon

put an eyepiece on each camera
checked for alignment; we would
monitor the shot with
three to five of the

a

and
then

video tap on

cameras.

Lighting has special limitations
you're shooting in 360. When
shooting outdoors, the sun has to be high
in the sky or hidden behind something.
Fortunately, the sun shines 18 hours a
day during the summer in Iceland, giving
us lots of setup and breakdown time.
Artificial light sources must be either
close to the ground below the rig, or
above it. The simple choice of using a
polarizing filter becomes very compli¬
cated, because all must match exactly.
Fortunately, we could fix discrepancies in
video postproduction. The final release is
in high-definition video - ideal for a

when

nine-screen show, because in film you

would need nine

prints, all color-timed to
match. But it is better to shoot 360 mate¬
rial

on

film, because electronic variations

make it
video

impossible to perfectly align nine

cameras.

The film includes several heli¬

discernible.

the flat

to hide. On a barren

With

a

circle film and

an

outdoor location, there's almost nowhere

copter shots, and for these the rig hung
below the

helicopter as a jettisonable
load. To preserve the rig, the 'copter
needed to land on a landing table for
American Cinematographer - September 2000

Table of Contents for the Digital Edition of American Cinematographer - September 2000
