American Cinematographer - June 2001 - 76

Digital Video Assist just got more:

Unholy Ground
continued from page 71
and

of
of
Egypt and Thebes," Berton says. "We
sandwiched
plate shots from
photographed a number
miniatures for the ancient temples

between

Morocco

our

miniature

buildings in the foreground and digi¬
tal matte-painted backgrounds. To
enliven the image some more, there
are digital creatures running through
the streets alongside live-action
people. There's at least one element
in there for all tastes!"

The film's climax is

Cinelogic announces
Cinelog-v4.0- with more
features and the ability to control
up to nine camera inputs simultaneously.
Get

a

demonstration at the ShowBiz Expo,

1324, May 31-June 2, 2001.
http://www.videoassist.com or call (818) 772-4777
Booth

Cinelogic®

a

two¬

pronged affair: on one front, a huge
daylight battle takes place between
the Scorpion King's forces and
Ardeth Bay's army, while Rick faces
off against both Imhotep and the
Scorpion King in the Pyramid of
Gold's temple. The human forces
numbered only a few dozen on loca¬
tion but were replicated in the
computer by ILM to create a large
army. "That was an interesting situa¬
tion," Berton remarks. "We built

an

of CG warriors to
live-action army of men on

enormous

fight

army

a
horseback. That

match

to

all that

meant we
went on

had to

in the live-

action

plate in detail. Making CG
fight against each other was
tough before, but that was a slightly
armies

controllable situation than

more

what
our
we

of

faced [this time].

By putting
digital forces against live action,
we

had

to

fold them into the middle

pre-existing image, making sure
atmosphere and dirt interacted
with synthetic and live-action figures
a

that

in the

same

fashion."

Before any

of that work got
underway, Berton devised a plan to
create a greater sense of interaction
while shooting the live-action part of
the scene. "When a human being
fights a synthetic creature, you wind
up with performers landing what I
call 'soft blows,"' he notes. "That's
because the guys

have nothing to
against. We had lots of stunt¬
men holding up crash pads that
approximated the height of our digi¬
tal warriors, and that provided the

strike



American Cinematographer - June 2001

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