American Cinematographer - February 2007 - 34
Film And
Digital Technologies Combine To Provide
Superior Results Under Widely Varied Conditions!
From braving the elements in Philadelphia to staging TV-integrated fight scenes
shot at Mandalay Bay in Las Vegas, the crew ol "Rocky Balboa" had a myriad
of filming challenges. Let BP Clark Mathis, 1st Assistant Brian Osmond, and
Clairmont Camera's Mike Condon provide some insights into the production.
LAS VEGAS
To shoot special in-the-ring footage in
conjunction with a live HBO telecast of an
actual title bout, as well as other scenes,
fourteen cameras were employed. On the film
side were 35mm sound, 16mm, hand-held and
high speed cameras, with the digital side
covered by six of Clairmont's highly modified
Sony F900/3 HD units used for hand-held,
Steadicam and tripod-mounted shots.
MATHIS:
"Shooting the finale at
Mandalay Bay was a unique
challenge, but I was able to sleep at
night because of 1st AC Brian
Osmond, Clairmont's Mike Condon,
DIT Peter Gray and Joe Cirincione of
Evertz. I have
anything so
technically complicated achieved with
such flawless results. They created a
redundant fiber optic network that
could feed up to six of Clairmont's Sony
F900/950
CONDON:
"To
provide producer/
director Sylvester Stallone with access
to the HD footage we set up a
Clairmont Video Village at Mandalay
Bay and cabled the venue with Evertz
ECAS fiber optic systems. We also
bundled in the Evertz 5600 MSC
Master Clock for timecode and
genlock, routing switchers and signal
distribution amps. We also used an
Evertz MVP multi-image display
processor and a 40" LCD. Two people
were able to
put everything in place in
about
two
in the
never
cameras
seen
at any
Mandalay Bay
interfere with the HBO
given point
arena
crew.
and not
They also
created
an
images, for
over
LCD video
me
to
Clearcom,
as
wall, with tiled
direct the cameras
well
as
engineering
mobile playback console that could
be fed by any camera. We didn't
have a single minute of down-time or
a missed shot because of technical
a
glitches
break-downs!"
was
initially concerned
about how robust the fiber-optic
system would be. But in retrospect, we
strung that stuff everywhere and it
rocked! I can only imagine our plight
without the fiber; endless battery
changes, BNC hell, wires everywhere
and problems galore. Not so with
or
OSMOND: "I
fiber. When
a
camera
would
move
they could simply unhook one cable
and go to another pre-rigged point."
Evertz ECAS fiber
employed to link
optic systems
were
network of six F900 HD
cameras to a Clairmont Video
village and
display monitors. Evertz Master Clock,
routing switchers, image display processor
and 40" LCD
a
were
also used.
hours."
Clairmont's modified F900s have many
special features that set them apart
from the pack. These include rugged
stainless steel B4 lens mounts,
repositioned controls,
custom carry
handles with controls, 12v outlets and
Steadicam mounts, and a host of other
improvements. They combine the
features
Cinematographers need with
digital technology
contemporary
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