contact

• "oc: there’s one shot in contact that a lot of people are discussing. on american online’s cinematography board, everyone was talking about the shot where the young girl runs up the stairs. she turns a corner, goes into a bathroom and when she reaches for a mirrored medicine cabinet, you realize that you’ve been watching this whole scene take place as a reflection in the cabinet’s mirror. there’s a lot of speculation on how that was done. i assume there was a blue screen process there, but since you’re the horse’s mouth, it would be fun to hear how that shot was done.
  
  kr: there’re a lot of other things i am that’s on a horse. but really, the toughest thing about that shot originally was when bob zemeckis first threw it at me, it was just trying to get it in my head, exactly what it was i was seeing and try to imagine it and then start to break it down into sections. first of all, i try to approach every thing with "what’s the simplest possible way to shoot the raw material i need to make this work later so it takes less time on the set?" so i knew i had to get this running shot of her starting on the first floor. she gets up and runs up the stairs. we’re following her with the steadicam and we also have bob, who can’t pile enough things into a shot. he also has the speed control unit hooked up to the steadicam, so while she’s running, suddenly it ramps up so she’s in slow motion. she runs up, she has to open the cabinet and you realize that you are seeing her reflection- you have been traveling through this reflection throughout the whole shot.
  
  the first thing we shot was her running because that would give me the key to what i had to do for the over the shoulder shot of her. so we spent a good part of the day with greg lundsgaard, (soc), the steadicam operator. he had quite a work out, he was basically running backwards up a bunch of stairs with this thing, trying to keep her in frame. the guys were doing the speed control shift at a very specific spot, and bob knows exactly the second where he wants that to happen. she ran up towards us, and i knew i wanted to shoot her a little wide towards the end of the shot because i could move in a little on her to re position her later. so she reached her hand up and pantomimed, grabbing at a point in space i gave her (the knob on the mirror), and pulled it open. so as i was watching the takes, i wanted to make sure that how she positioned herself, how she positioned her hand and where it was, the look she was giving, and the believability of the "pull open" all made sense to me.
  
  so once we got that piece, and we had it on video, and i don’t think we shot the other piece for a few weeks. the back end shot had a mirror with a blue screen in it, and had no glass or mirror what so ever. we started with full blue in frame, and on the dolly, pulled back, and out of the bluescreen. during this move she reached up, (shooting over her left shoulder,) she grabbed the real knob and pulled the mirror open. she grabbed the medicine and left, and someone slowly, just by hand, close the mirror back, just at the right speed, and that was that element. then we shot an element of the wall, which had the photograph of the father and daughter on it, and placed it on the blue screen area on the return of the mirror to its closed position. we also added dirt and a beveled edge on the mirror.
  
  it took a lot of work to match the hands up because when she reached up in both shots, they really weren’t exactly right. so we did a lot of cutting and pasting on her arm, removing fingers, shifting fingers, and changing the speed of her reach so it would all make sense.
  
  oc: when she actually did her pantomimed reach to the invisible medicine cabinet knob in the first element, what actually was there?
  
  kr: for a while i had a c-stand arm there for her to reach to, and removed it later. we also had to have crew removal in the shot because the shot was so complicated and the lens was so wide. there was a point where someone was bobbing up and down in the bottom of frame, so we had to paint him out. so, you cameramen out there, you better work out a little more and run a little faster."
  
  ---------------------------------
  
  küçük ellie'nin ev içindeki koşturması önce normal çekilmiş ardından mirrored yapılmış.. normalde ilaç dolabında cam yokmuş.. blue screen tabir edilen yöntemle bu mirror edilen ilk çekim oraya monte edilmiş.. küçük ellie'yi canlandıran oyuncu aslında orada olmayan bir dolaba elini uzatmış ilk çekimde.. sonra o elin pozisyonuna göre şeedilmiş..
  
  işte o, insanın içini gıcıklatan sahne.. beyin kıvrımlarını seveyim zemeckis..
  http://www.youtube.com/watch?v=szjqgoekw00