Let me get going here with a short few words about what it is we hope
to accomplish here. A few words of general interest here. Everything
I'm showing here is called Optical Effects. Altering existing footage
in SOME way to accomplish a scripts, director's, producers, and/or
studios goal[s]. In many situations these effects are performed to
correct errors made by inexperienced cameraman, mechanical defect's
or accomplishing a shot for the film that the budget just would not
cover. Such is the case with this problem.
We need 1000 people escaping a multi-story building[s] -- burning
city into the nearby water. Our problem is we've only got the budget
for 250 extras and a single story building city. The scene last's
for 10 seconds or 240 frames.
What's this got to do with Zapruder? You'll see ...
Here's what I'd do as Director, Build the single story city set on
the banks of a river. Build a camera platform high and away looking
down on the site at a 45 degree angle from a distance of 300 yards.
Have the stage manager or 2nd director organize the 250 extras to
the right side of the city (stage left) at the base of the single
story buildings, get the camera in it's fixed position - lock it down
and DON'T touch it for the duration of these shot's.
Roll film: Have the 250 (stage left) make their escape to the waters
edge and beyond - stop the camera, move all the folks to the (stage
right) side of the city and do exactly the same thing - stop the camera,
move everyone to the (center stage) area and 50% of the folks up the
street a bit between the buildings and do exactly the same thing.
ALL three area are showing mass confusion and Chaos, what you'd expect
a whole fleeing city's population to act like.
All right we've got a total of 30 - 40 seconds of finished film (3
cut's above numbered 1-2-3 ), the film is processed this is what they
look like, your happy and this is what happens next. You tell the
Creative Director I want the Optical Printing lab to give me matted
sequences (the corresponding matte sequences are numbered 1a, 2a,
3a) of the best 8-10 seconds of each area escape (left, center, right).
then have the studio artist[s] put together a matte sequence with
brushes (in other words do a painting a damn realistic one I might
add which includes second - third- fourth story['s] for the buildings
in the scene (comprises the upper 1/3rd of the frame). The location
mattes are color coded for ease and the Lab painted matte sequence
is in the yellowish cast.
The smoke and other effect's was done with another pass on the printer[s].
Note: we could even simulate with the optical printing effects the
ground shaking from an explosion I we desire to.
BTW, this sequence really happened, I believe this was a Hollywood
produced film from the early 50's. Anyway throw them ALL together
with their mattes and gaze at the next few images, the drop shadows
are in place to give more definition to how the *full frame comp*
is put together.