American Cinematographer - May 1990 - 82
...EVERYTHING
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Equipment
best source is always
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Camera
crew
includes
assistant
Stump,
camera¬
David Drzew-
man
iecki, and Spencer
on
office set.
phone. "For this
300 SX that
san
It had 40 miles
scene we
we
on
rigged a Nis¬
a junk yard.
found at
it and
was
totalled
on
AUDIO
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KENWORTHY-NETTMANN SNORKEL
off! From the windshield
slaved the
forward, there's nothing. We strapped it
onto a process trailer and did a Steadicam shot
a dolly around the car. We
used the edge of the front window as a
wipe edge to take us back to our stage
Stump said.
car
Spencer and Stump added a
magic to this otherwise straightfor¬
ward shot by playing with the images in
the windshield. In the beginning, there is
a very bright and prominent reflection of
a skyscraper in the windshield. As the
little
camera moves
rated about
had added circular
of the
us
to
polarizers in front
lights rigged in a way that allowed
spin them. We also put an addi¬
normal reflection and
pull the pola the building reflec¬
disappears. At the same time we
were synchronizing the pola on the lamps
tion
so
that the illumination appears on the
inside the car just as the reflection
man
of the
building disappears."
Back
CAMERA
SUPPORT &
TELEVISION
GRIP EQUIPMENT
D-8000 MUNCHEN 50 LERCHENSTRASSE 5
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Thanks to
a
little smoke
on
stage at Apogee, an
neath it. Then
ment's slitscan
fiber
photography appears. "In
the images we wanted on
the monitor, we pumped in output from
May 1990
screen we
then
few feet above the
-
Steadicam
order to get
a
which turns out to be the Up¬
Bay off New York City with the World
Trade Center in the background.
That scene cuts with a night
freeway traffic shot filmed on location
back in Los Angeles which swirls around
and segues into a shot of home plate at
Busch Stadium in St. Louis. Home plate
rises up out of the ground and the North¬
ern Telecom logo starts to appear under¬
water
office set included a high-quality Sony
monitor on which the animation depart¬
D-2000 HAMBURG 61 IN DER MASCH 1
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80
begins with
satellite-type shot of Japan. As the
camera pans out over the Pacific Ocean,
two Air Force jets enter the scene.
a
per
a
over.
quarter of the shots from
We shifted the
as we
&
a
travel down to
90 degrees as
We started with
monitor,"
"Combo." This second spot
tional focus type remote control on the
Steadicam for a polarizer on the camera.
polarizer on the camera
it moved around the car.
to the
Stump and Spencer did a sec¬
spot called "Anthem" that incorpo¬
ond
we
PICTURE
lation the :30 ride is
becomes the center of focus.
with HMIs, but
camera
The animation continues and
tion
scene
using a Clairmont
synchronizing device, I just
bridges to the final sequence of a fiber
optic bundle that appears in a man's
hand against a black background. Just as
the image settles in, a charge of commu¬
nication power goes up through the fiber
optics and bursts into a shower of sparks
to reveal the logo for Northern Telecom.
The shower of sparks and the logo are
animated. And with that sparkling reve¬
around the car, the reflec¬
disappears and the actor's face
Stump
elaborated on this bit of prestidigitation:
by frame. It
shoot at whatever frame
rate we wanted. Then
end of the
"We lit the entire
MOTION
us to
Camera video
set."
980-9891
228-4429 FAX 818
Abacus still store frame
allowed
the front end. We sawed the entire front
-
'10639 Riverside Drive, North Hollywood, CA 91602
an
a
different version of the
and office shots, the same
slitscan animation piece and the same
car
optic ending close the commercial.
"The 3-foot diameter globe at
the beginning was painted by matte art-
American Cinematographer - May 1990
Table of Contents for the Digital Edition of American Cinematographer - May 1990
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