American Cinematographer - August 2003 - 76
Pop Life
is taken
crew,
wanted
further. "Alex
something different from
step
a
the smooth, linear, virtual-camera
we've
treatment
in movies and
seen
commercials," says Duggan. "We
used two Arri 435s shooting at 150
fps and 20 still cameras positioned
in
150-degree arc around the actor.
were 20 people on the set
holding 35mm Pentax still cameras,
a
There
each with 35-70mm
of them
same
over
were
time. The still
the
zooms,
synced to
go
and all
off at the
cameras were
all
place, and the shots showed
the action from all different per¬
spectives and in different-sized
The
crew
for a
"Garage Time"
prepares
setup.
lens after
allowing for camera speed,
shutter angle and pellicle loss," he
says. "It's probably the simplest
setup of the whole shoot, but it real¬
ly worked. It looks like one-source
lighting motivated by the lamp in
the room. It has a very cold feel that
really helps you feel what the char¬
acter is going through at the time."
The
with
those treated
bleach-bypass, which further
scene was
among
enhanced its starkness.
character
tossing a pill into
the air, suggests the "bullet-time"
effect that made a splashy debut in
The Matrix. But in Garage Days, the
effect, dubbed "Garage Time" by the
a
Animal Logic did a
morph process on all
images, creating a shot that
Artists
at
distorted 3-D
Another effects shot, which
shows
images."
of the
starts
with the first Arri's POV,
morphs into the still images, then
morphs between the still images and
ends up on the second Arri's POV.
The shot
creates
the illusion of
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American Cinematographer - August 2003
Table of Contents for the Digital Edition of American Cinematographer - August 2003
American Cinematographer - August 2003 - 1
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