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Shooting Action Sports: the Ultimate Guide to Extreme Filmmaking

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Shooting Action Sports: the Ultimate Guide to Extreme Filmmaking Shooting Action Sports This page intentionally left blank Shooting Action Sports: The Ultimate Guide to Extreme Filmmaking Todd Grossman AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Elinor Actipis Associate Editor: Cara Anderson Publishing Services Manager: George Morrison Project Manager: Kathryn Liston Assistant Editor: Robin Weston Marketing Managers: Marcel Koppes, Becky Pease Cover Design: Aaron Atchison of Farm Design Illustrations: Max Forward Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008 Todd Grossman. Published by Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-80956-4 For information on all Focal Press publications visit our website at www.books.elsevier.com 07 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 Printed in China. Working together to grow libraries in developing countries www.elsevier.com | www.bookaid.org | www.sabre.org To my family. With love, and appreciation. This page intentionally left blank Contents Preface ix Acknowledgment xi 1. A History of Action Sports and Filmmaking 1 2. The Tools of Action-Sports Filmmaking 17 3. Project Development 47 4. Working on Location 63 5. Camera Angles, Lenses, and Framing 77 6. Shooting Techniques 107 7. Documentary vs. Reality 135 8. Storytelling Techniques 149 9. Postproduction 167 vii CONTENTS 10. Distribution 195 11. Big-Set Production: An Overview 213 12. The Future of Action-Sports Filmmaking 239 Index 251 viii Preface What is the difference between a camera operator and a cameraman? In 2006, I found myself working on a TV show for Intuitive Entertain- ment with cinematographer I-Li Chen. He was the fi rst person I had ever encountered who could not only sum up the difference but also the importance of this difference. His explanation was as follows: “Camera operators shoot what they’re told, when they’re told; they are more or less a tool with little or no creative input. Cameramen are a bit of a director as well. They are always watching and listening to everything that is happening. They are looking for moments, feeling the energy in a room, and identifying the story in what they are shooting. A cameraman will always capture the best moments.” I-Li hit the nail on the head with this statement. I’ve always found that people like to keep one eye closed while shooting fi lm and video. Now granted, there are circumstances in which this is best to do; however, I fi nd that most of the time, you are better off leaving your “non-eyepiece” eye open. The reason is exactly what I-Li said. With your other eye open, you will be able to seek out and fi nd not just other moments that are brewing around you, but you’ll also see what is hap- pening just outside the edges of your frame. In the summer of 2006, at what TransWorld SKATEboarding referred to as “The Best Skateboard Contest Ever” — The Vans Pro-Tec Pool Party in Orange, California — 200 of the best top pro and retired old- school ramp and pool riders showed up to compete in the enormous ix PREFACE concrete Combi Bowl. What ensued was total utter chaos, and it was great. For any cameraman attending this event, thousands of insane tricks were pulled, hundreds of perfect moments happened, and dozens of multiskater collisions occurred. At an event like this, or even at a crowded local skate park, many things are happening at once. You’ll fi nd it very helpful to keep both eyes open and see not only what is happening around your frame, but also what is about to happen in it. Predicting and anticipating is perhaps the greatest talent a cameraman can acquire. Whether you’re brand new to shooting action sports or you’ve been doing it for years, if you remember nothing else from this book, remember this: be a cameraman, not a camera operator. As noted above, and as you’ll see throughout this book, there are countless examples of camera tricks and techniques used at major and minor events around the world. Just remember that even if you’re only shooting something in your backyard or hometown, these techniques still apply. Video, fi lm, and digital tools are just that: tools — it’s your eye, your style, and your creativity that will make what you shoot compelling. This book will take you through all aspects of production focusing on action sports. From planning and preparation to editing and post- production, you’ll get a solid understanding of the changing technology, camera techniques, and basic to more-advanced shooting principles that can be applied to almost every scenario you might encounter. x Acknowledgment If you’re reading this then that means you’ve opened the book, and for that, I am grateful. The cover of a book is like a movie poster; you’ve got one chance to hook the viewers and entice them in to get a little more. Of course, movie posters can cost hundreds of thousands of dollars to make and require large design teams. In the case of this book, Aaron Atchison of Farm Design did an incredible job with the cover. Thanks Aaron. If the cover of a book is like a movie poster, then the book itself must be the movie; and for the chance to make it, I must thank Cara Ander- son, Elinor Actipis, and everyone at Focal Press and Elsevier whose support and enthusiasm made it all possible. Every great movie and even skate video has an amazing team of people behind them. So for their contributions of time, energy, knowledge, and support, I thank those below and pray that if anyone was left out, you know how much I appreciate you. Chris Mitchell Moz Mirbaba & Bill Keily at Ed Henderson Windowseat Pictures Erin Glenn Tad Lumpkin Rob Cohen Michael Sugar Julie Dotson-Shaffer Justin Ward Craig Caryl Paul Temme ASA Entertainment Max Forward xi This page intentionally left blank A History of Action Sports and Filmmaking 1 An Introduction There are more than 75 million action-sports participants in the United States today, and well over 100 million fans.1 That number has been growing steadily since the mid-’80s, with no signs of slowing. So how does this affect you and your desire to shoot action sports? Signifi cantly. Action sports were introduced to the mainstream world in the late 1980s under the all too well-known term “extreme sports.” In 1995, one of the worldwide leaders in sports, ESPN, saw value in this growing niche and quickly founded the Extreme Games. The ensuing years demonstrated enormous growth in all disciplines — from the top-rated aggressive in-line skating of the 1990s, to the acceptance of snowboard- ing into the Olympics, to the now-prominent Freestyle Moto-X. ESPN and the world have continued to watch as more and more kids par- ticipating in conventional sports have steadily shifted to action sports. Mainstream participation in this growing industry eventually led to an oversaturation of the term “extreme sports.” ESPN soon amended 1 Superstudy of Sports Participation conducted by American Sports Data, Inc., which monitors more than 100 sports and fi tness activities. 1 SHOOTING ACTION SPORTS: THE ULTIMATE GUIDE TO EXTREME FILMMAKING the formerly titled Extreme Games to the now-massive X Games. Mean- while, what began as a “go for broke” attitude among action-sports participants was maturing into a calculated approach to executing tricks and substantially lowering injury rates. The result was the evolutionary step of kids quickly progressing from being extreme-sports participants to action-sports athletes. Flash to 1999. Tony Hawk stands atop an X Games vert ramp. Hun- dreds of cameras, professional and personal, look onward as the Best Trick fi nals timer counts down to the very end and Hawk fails to land his trick. Then, like a classic Hollywood story of a man fi ghting against all odds, with the contest over, Hawk continues to attempt his trick — again and again and again. The 900 (spinning two and a half times in the air) was a virtually unheard-of maneuver in skateboarding. If anyone was going to land it at such a prestigious event, it was going to be the godfather of the sport, Tony Hawk. Nearly every other athlete stopped skating out of respect and support for Tony. Then, after 18 failed attempts — with his fans, peers, and millions of people watching on television — Hawk dropped in once more, set himself up, and took off spinning blindly into the air. As he came around on the second rota- tion, this time Tony saw his landing, put his feet down, and rode away, executing the fi rst ever 900 at the Summer X Games.
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