American Cinematographer - December 2004 - 90

Man of

a

Thousand Faces
footage to give it the right look."
Levy
used a
Panaflex

Although he
supervised a
digital
intermediate

Millennium XL for

on

material

Levy
prefers to
accomplish "as
the show,

much

as

well.

of this

some

Shooting

on

5222,

he set the shutter at 45

degrees and
ran the film at 22 fps. "It's a little offspeed and a little staccato," he says.
Visual-effects artists added grain to

as

possible on the
negative, and
the rest should

these shots

just be finetuning."

rate

that

well.

as

Among the film's most elabo¬
effects sequences is a virtual set
was

used

to create a

showroom with

a

sports-car

view onto

Berkeley

Square in London. "It would have
cost too

MiniDV for most of the homemovie

material.

"It

was

more

to

convince

an

audience that it

was

malleable," he explains. A visual-

watching footage shot by amateurs?

effects

The

supervised by Joe Pavlo
subsequently added grain and
random scratches to the footage to
team

make it look

more

like old film.

Shooting the home movies
presented Levy and camera operator
Peter Robertson with a special chal¬

(800) 553-4563
montanafilm@visitmt.com
www.montanafilm.com

86

lenge: could they shoot badly enough

answer

was

no.

"The trouble

with

much money to try to recre¬

something like that practically,"
says Levy. Instead, Pavlo prepared
animatics that gave the filmmakers
ate

an

idea of where the

trying to emulate home movies
[on professional productions] is that

the final

cinematographers and operators
have lost their naivete, and you can't
fake that naivete," notes Levy. "So we

tions. "That

often had the

actors

shoot that

crew

cars

would be in

composite, so that cast and
could shoot with those posi¬
scene

was

feared the most," recalls

the

one

I

Levy. "The

set was

about 120 feet across, all blue-

screen,

and I knew I had to get a base



American Cinematographer - December 2004

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