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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