Cinematography-Theory-And-Practice

Figure 11.29. (top) A mini-helicopterby Flying Cam. (Photo courtesy ofFlying Cam, Inc.)Figure 11.30. (because) A low modeprism. (Photo courtesy of CenturyPrecision Optics.)that the perspective relationship of the car to the road will seem natural.If the car is too high, it will look odd. Towing has two advantages.First, the position of the picture car doesn’t change radicallyand unpredictably in relation to the cameras, which can be a problemfor the camera operators and the focus pullers. Second, it is muchsafer because the actor doesn’t have to perform and try to drive atthe same time.A simpler technology for towing shots is the wheel-mount tow.This is a small two-wheel trailer that supports only the front wheelsof the car. Because the picture car is still at ground level, there arefew problems with perspective. This can be an advantage if, forexample, the car has to stop and someone approaches the window.This could all be done in one shot, where it would be difficult if thecar is mounted on a full trailer. One safety consideration for frontwheel tows: the tires are usually held onto the tow carriage withstraps.Camera positions for vehicle to vehicle usually repeat the standardpositions for hood mounts. A crane may also be mounted on thecamera car, which can be used for very dynamic moves such as startingwith the camera shooting through the windshield, then pullingback and up to show the whole car traveling alongside.AERIAL SHOTSAerial shots were also attempted very early in film history. Vibrationhas always been a problem with aerial shots as with the pressure ofthe windstream. Both make it difficult to get a good stable shot andcontrol the camera acceptably. The Tyler mounts for helicoptersisolate the camera from vibration and steady it so it can be operatedsmoothly.Today, most aerial shots are accomplished with remote headmounts, with the camera mounted to the exterior of the aircraftand the operator inside using remote controls but in tight budget orimpromptu situations it is still sometimes necessary for the cameraoperator to lean outside and balance on the pontoon — hopefullywith the proper safety rig. In such cases, don’t forget to secure thecamera as well as any filters, matte box, or other items that mightcome loose in the slipstream.Mini-HelicoptersA development in aerial shots is the use of remotely controlled minihelicopterswhich are adapted with camera mounts (Figure 11.29).Generally only very lightweight film or video cameras can be flownon these helicopters.Cable-CamInvented by Garrett Brown, who also conceived the Steadicam, theCable-Cam can perform some truly amazing shots in places that ahelicopter might not be usable, such as over a stadium crowd. TheCable-Cam can carry an operator or use a remote head. The unitcomes with its own crew and generally requires at least a day of setup.OTHER TYPES OF CAMERA MOUNTSRickshaw, Wheelchair and GarfieldCamera mounts can be put on just about anything that moves. Thepoor man’s dolly, often used by film students, is a wheelchair. Withits large-radius wheels and the operator hand-holding, it can providesome remarkably smooth dolly shots. The Garfield is a mount thatgoes on a wheelchair to allow for mounting of a Steadicam.cinematography224