'Green Lantern'
(Feature film)
Warner Brothers realized maximum benefits and value from Velocity Stunts’ Vectorcam cable camera flying system on their feature film Green Lantern. Second Unit Director John Mahaffie asked Dave Lane of Velocity Stunts to assist him and Main Unit Director Martin Campbell with their flying camera requirements on location in Louisiana.

John had used Vectorcam on two previous feature film projects, Chronicles of Narnia “Prince Caspian” and Aliens in the Attic. From these previous experiences John knew how well Vectorcam’s systems and Velocity’s crew could assist him in realizing his vision.

John had assembled his Second Unit team of First AD Julian Wall, Second AD Bill Purple, DOP Brad Shield and Key Grip Doug Cowden along with Main Unit Locations Manager Bill Doyle for a walk through of the flying camera shots John was looking to accomplish. Two separate flying camera rigs were required to cover the live-action shots and visual effects elements.

Using Velocity’s 2D rig format with a drop post gimbal, a kind of reverse periscope or snorkel  extending the camera down from the rigging at the end of a post, allows the camera to fly very  closely to the ground while keeping the support ropes well above the heads of cast, hundreds of extras and set pieces.

All the elements came together well with John and Julian setting a fast shooting pace. Several profile shots were accomplished with the Vectorcam rig giving John a wide latitude of creative freedom while living up to his expectations for performance. The efficiency of the Vectorcam crew and their rig played an assisting role in helping John, Julian and Brad achieve their morning’s work before the light changed to an unfavorable level. With the profile shots accomplished with good success it was time for big rig shots.

John started off the day with his big high and wide shot which required the Vectorcam rig to accelerate the camera rapidly from a standing start off the top reaching 40’/sec rapidly eating up the street before descended onto the action in the streets below. The Vectorcam rig excels at this type of move where extreme starts and stops are required while still maintaining good stability. Several shots were successfully completed before moving onto the final shot of the day that would take full advantage of Vectorcam’s innovative drop post gimbal. The drop post enabled John to design a close quarters leading shot that allowed him to put his lens right in the action, producing a dynamic powerful shot to end the day with.

Velocity provided John with an innovative technical solution for flying his camera that afforded him the best possible creative freedom. They had worked as a cohesive efficient team assisting Julian in achieving his day and they had met and exceeded Warner Brothers safety requirements with a sound rig that was operated in a safe, professional manner. They had worked courteously and collaboratively with all departments for a smooth installation of the rigs maintaining a flexible open dialog with Peter Novak that allowed him to achieve John’s goals, while working with in his guidelines.

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