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Re: multi angle WGFA



> Where were these angles in the original film?  I'm just curious as to why these angles
> weren't used in the original editing of the Shepperton show.  Does this also mean that
> there are some additional angles used in Baba O'Riley since it's from the same show?


Dude, you gotta check out the website dedicated to the upcoming DVD release of TKAA.

http://www.thekidsarealright.net/default4.htm?1057508956840

And, to answer your questions above (or create more questions), here is a Post-Produc-
tion Log from the website:

=====
January 24, 2003
Pioneer Entertainment
Long Beach, CA

The multi-angle feature is finished and looks great. If you are interested in how I did it,
read on but beware: it may be painfully boring for those of you without a strong constitution,
it which case I'd move on to the next log.

It was very difficult to put all of the pieces together as there were many holes in the film
where the editor removed sections to use in the final cut. It was a giant puzzle to put together
without any corner or side pieces! Since there were no editor notes or camera sheets it was
really hard to figure out which camera was which, especially because some of them were
moving. What I did was take a look at a piece of footage to see where a given camera
seemed to be placed. For example, an easy one to figure out was one I call the "wing cam".
It is located in the stage right wing (stage right as you are looking at the audience from the
stage) to the right of john. This is where they captured Pete flying. The camera doesn't move
and made it easy for me to isolate all of the footage from that angle. This became known as
camera g. Another easy one was what I call "Rogers pit cam". None of its footage was used
for the final film. It was located in the pit just to his right. This became camera f. Still another
easy one (don't worry it gets harder) was the camera that just photographed John. It rarely
moved off of him and came to be known as the "ox cam" or camera c. Keith had his own
camera too that covered him and was fairly easy to keep track of and became known as,
you guessed it, the "Moonie cam" or camera b. Unfortunately this camera was only operating
on take one of WGFA.

Now comes the complicated part. There were many cameras focusing on Pete. The primary
one is "Pete cam one" (camera a) that moves along on a dolly track. This angle was used for
a large portion of the finished film, so not too much of it will be new to you. There is another
"Pete cam" (camera d) that didn't move and was also used quite a bit but not nearly as much
as camera a. For the most part, it used the same angle as camera a when it wasn't dollying back
and forth in front of the stage so these two cameras were sometimes impossible for me to dis-
tinguish between. A third "Pete cam" that was only used for take two in WGFA was located in
the pit in front of him and became camera e. This is a great angle that wasn't used hardly at all
in the film. The eighth and final camera was mounted behind the audience and tried to focus on
Roger but ended up many times looking like cameras APB and C. This became camera h. The
angles became so confusing that I had to create a diorama of the Shepperton stage just to keep
track of it. It's a pretty funny thing that I may just have to show you.

You must remember that WGFA was done in two separate takes so in some cases the cameras
were moved to different locations for the second take making it even more confusing. Also re-
member that take one was used up until the lasers (or there about). Because of this two take sit-
uation, it was extremely hard to make the transition from take one to take two because while the
music changes without you noticing, the picture is much harder to conceal; here's why:

Remember that classic slow motion shot of Pete flying through the air? Well by the time you see
him jumping, the music cut has already happened and the sound is now of take two but the jump
is from somewhere else, not even take one! The jump we see was apparently done later so a high
speed camera could catch him in slow motion (the faster the camera runs, the slower the shot
looks). There is no audience in the shot. So it was "cheated in". So now we have to go back to
take two to pick up the visual action that will match the picture. Unfortunately, Pete does some-
thing different after he gets up from his landing so on take two he's on the other side of the stage
and it doesn't seamlessly fit with take one. You may have watched the film before and said
"Hey, Pete just landed over by John. How did he materialize back to the opposite side of the
stage?" This is why. It's very confusing, but you'll see what I mean when you use the multi angle
option.

- John Albarian
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