American Cinematographer - June 2006 - 127

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edited this video

on my Powerbook to
preview which types of shots we should
fight for and which shots would not add

All-Weather

Reliability.

to the movie.

Various camera speeds were
always in my mind, and we had to decide
which speeds were necessary in order to
make our decisions about lighting and
camera packages. To satisfy everyone,
we put together a shoot at All Olympians
gym in Los Angeles to test camera
speeds, as well as isolate some action
with greenscreen and lock-off shots to
design compositing ideas.
The film test projected on the big
screen gave us an enormous confidence
boost
the detail and strength could be
seen at 64-150 fps. A gymnast swinging

Experience True Creative Freedom.
bron kobold
200-400-800 watt

all-weather HMIs

-

on

the

uneven

bars looked too fast at 24

fps; to depict that action in real time, 32
fps looked like reality onscreen. Experi¬
mental camera placements conveyed a
defiance of gravity. The locked-off shots
and small greenscreen were used as
elements to create a rough composite of
layered athletes on the same apparatus,
which was accomplished by Henrik Fett
of Look Effects.
I decided, however, that slow
motion could not be the

only time-warping aspect of the cinematography,

because this device

can

be overused if

another type of camera speed
contrasted against it. In lighting, you

isn't
need

to orchestrate contrast to create an

image that compels

a response

from the

audience, and Jessica and I felt the same
was true of motion, so we decided to use
the

completely opposite frame rate - 2fps-for the contrasting camera. This
gave us a visual punctuation mark and
12

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123



American Cinematographer - June 2006

Table of Contents for the Digital Edition of American Cinematographer - June 2006

American Cinematographer - June 2006 - 1
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