American Cinematographer - September 2002 - 61
F A.A. FRIENDLY
FLYING-CAM,
www.flying-cam.com
got the equivalent of something
running at normal speed with a 180degree shutter, which allowed us to
adjust 'motion blur' in post. We used
we
that formula
given
to
reduce 24p to a
speed so we could
move the
rig or the model at the
speed needed for the effect. Between
merging and skipping out frames,
we could
get a good simulation of
any frame rate we needed, which
allowed us to use digital cameras
throughout the effects process. We
were
shooting things all the way
camera
down
to
effective
one-
second exposures pretty
That
method
or
Twhnic*l
Achievement
|
A Beautiful Mind
Harry Potter & The Chamber Of Secrets
Mission Impossible 2
Bond 18
/-L
Bond 19
(
S
Bond 20
Ocean's 11
Close Range Aerial Filming
The Beach
The
Legend Of Bagger Vance.
US/
Ph.
(310) 581-9276
EUROPE
Fax
(310) 581-9278
usa@flying-cam.com
Ph.
(324) 227-3103
(324) 227-1565
europe@flying-cam.com
Fax
half-
v
regularly."
enabled
PANTHER
Rosenberg, Sweeney and Miller to do
relatively simple calculations, but
Meyers acknowledges that "it doesn't
work in all cases. For example, it
doesn't allow you to shoot down at a
T32 or something really closed
BROADCAST
_
See us at IBC,
Booth # 11.629
and
/
/
J
/
Cinec,
Booth # 4-F1
f
down, like T64, which you can some¬
times get away
with in film using a
really long exposure."
Shooting motion control in
HD and merging frames meant that
the cameramen were viewing moves
on
the HD monitors that
be in the film. "A 100-frame motionat 1
ultra-light crane and remote head system
(on display at IBC and Cinec)
Husky
were
considerably longer than they would
control
the
the ultimate, foldable
dolly for film, broadcast and video
of a
spaceship flying by
fps translates into approximately
four
move
seconds
of
screen
time,"
Rosenberg notes. "But on the moni¬
tors on stage, we saw exactly what we
shot in real time; in
one
instance,
we
watching a move that was trav¬
eling eight times slower than it was
were
meant to
be. We used the HD moni¬
judge color, lighting and art
direction, and we used our digital
disk recorders, which record a single
image for a single motion-control
frame, to judge pace."
tors to
Another
concern
for cine¬
matographers
capturing visual
lighting to help
give miniatures the proper scale.
"Depending on the scale, we some¬
times had to use a IK key light
instead of a 20K," Sweeney recalls.
effects is how
Husky
as
Husky
transport cart
Husky
ready for action
folded for
transport
to use
"Focus became
a
real
challenge
Panther Broadcast (a division of Panther GmbH),
Raiffeisenallee 3, 82041 Oberhaching/Munich, Germany
Tel: +49-89-613 900-01, Fax: +49-89-613 1000,
contact@panther.tv, www.panther.tv
57
American Cinematographer - September 2002
Table of Contents for the Digital Edition of American Cinematographer - September 2002
American Cinematographer - September 2002 - 1
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American Cinematographer - September 2002 - 89
American Cinematographer - September 2002 - 90
American Cinematographer - September 2002 - 91
American Cinematographer - September 2002 - 92
American Cinematographer - September 2002 - 93
American Cinematographer - September 2002 - 94
American Cinematographer - September 2002 - 95
American Cinematographer - September 2002 - 96
American Cinematographer - September 2002 - 97
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American Cinematographer - September 2002 - 100
American Cinematographer - September 2002 - 101
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American Cinematographer - September 2002 - 107
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American Cinematographer - September 2002 - 109
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American Cinematographer - September 2002 - 111
American Cinematographer - September 2002 - 112
American Cinematographer - September 2002 - 113
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American Cinematographer - September 2002 - 115
American Cinematographer - September 2002 - 116
American Cinematographer - September 2002 - 117
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American Cinematographer - September 2002 - 119
American Cinematographer - September 2002 - 120
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American Cinematographer - September 2002 - 122
American Cinematographer - September 2002 - 123
American Cinematographer - September 2002 - 124
American Cinematographer - September 2002 - 125
American Cinematographer - September 2002 - 126
American Cinematographer - September 2002 - 127
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