American Cinematographer - May 1990 - 84

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today:

ist Jenna Holman,"

Stump recalls. "We
Japan because a lot of the
Japanese phone system is supported by

focus in

Northern Telecom. Then

we start to

drift

out over the sea towards America where
encounter the

fighters. The US Air
equip¬
ment. So using our reverse blue screen
matting process we shot two motion
control jets doing a fly-by in formation
towards and past the camera.

Force also

uses

Northern Telecom

"Then

introduced

smoke

element to

bridge the dissolve between
the painted ocean and a helicopter shot
we did over the Upper Bay in towards the
World Trade Center. We looked for stock

footage for the New York shot and noth¬
ing we found worked so we went to Man¬
hattan. We flew very low over the wa¬
ter. The camera was nose-mounted and

this time
nose

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used Continental Camera's

system. The day was unusu¬

ally smog-free and beautiful, slightly
overcast. The water was crisp and clear
and at just the right moment the sun
peeked through the clouds. We got lucky
with that shot."

The shot of the

cars on

the 405

Freeway was the closest thing there was
to a a film optical in this commercial.
Stump explained, "We wanted to get

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some

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serious bite into the cars, the head¬

lights, the road and everything there.
Rather than go out and do a full 'roundyround' shot in 24 fps, we took one of our
VistaVision cameras with a very nice
Canon lens, the fastest 300mm we could
find that filled the VistaVision format and
did

plate of the traffic as it headed
us. The lens compressed every¬
thing and sort of stacked the cars all up.
By doing a plate, I could strike a lowcontrast projection plate and re-photograph it off the projection screen, do my
matched roundy-round move and add a
little flash to bring up the contrast level
that would have compressed in any other
way. This treatment made the shot a little
more spectacular, a little more satu¬
a

towards

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rated."

Stump's 'roundy-round' move¬
right into the next element
starts out as stock footage of

ment led

which

Busch Stadium. But almost

cross-dissolves into

instantly it

series of five matte

American Cinematographer - May 1990

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