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St. Louis Business & Technology News
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Steven Soderbergh Uses Digital Technology to Create New Film HOLLYWOOD, CA., (Newstream), April 11, 2002 - Steven Soderbergh, Academy Award®-winning director of Traffic, and other box office hits including Erin Brockovich and Oceans Eleven, has just completed shooting his latest feature-length motion picture, Full Frontal, a contemporary comedy set in Los Angeles and described as a movie about movies for people who love movies.
After reviewing several high-end DV camcorders, Soderbergh selected the Canon XL1S for a number of reasons, the most notable being its open architecture and modular design, which allows users to build their ideal camcorder system by changing lenses, viewfinders and shoulder mounts and combining multiple audio sources. Since his intent was to shoot Full Frontal completely handheld, the use of Canon's XL 16x II zoom lens with Optical Image Stabilization was an essential piece of equipment. The image stabilizer influenced the way Steven staged and shot scenes. His intention was to fully utilize camera movement in the production, which required an image stabilizer that would achieve a smooth, steady image throughout the entire zoom range of the lens and counteract any sudden body movement.
"With the input and assistance of many filmmakers and videographers in the industry, Canon was able to produce a product that had all the functions and features they wanted and needed in a professional-level DV camcorder," said Yukiaki Hashimoto, vice president and general manager, Photographic Products Group, Canon U.S.A. "Mr. Soderbergh's use of the XL1S is representative of how we envisioned this product to be used by today's contemporary filmmakers." Another feature that became an important element in Soderbergh's selection process was the camera's gain control feature. It allowed him to adjust the camera's sensitivity to the natural light of the shooting locations, which was especially important with the production of Full Frontal because all scenes were shot with available light. Adjustments in gain control could be made in several degrees, allowing a drastic or subtle change in any scene, a measure of control Steven needed to create the look he desired. This feature, along with the camcorder's multiple white balance settings also provided tremendous production efficiencies when moving between shooting locations, especially with available light. The camera's ability to generate 16:9 aspect ratio guidelines was also favored by Soderbergh, allowing him to easily frame shots for the wide screen common to movie theaters. At all times, he was keenly aware of exactly what his composition would be long before the image would hit the silver screen. By utilizing the features and functions of the XL1S, and the elimination of any "technical downtime" made possible by shooting video rather than film, the production was completed in just 18 days, an astounding feat for any major motion picture. Other features of the Canon XL1S include: Advanced Image Control for greater flexibility of color, sharpness, color gain and set-up level; Zebra Pattern Level that warns the user of drastically over or underexposed light levels; Clear Scan to eliminate "flicker" when taping a computer or TV screen; Programmed Auto Exposure (AE) for greater creative flexibility; Three Recording Modes for tremendous image capture versatility; and several Custom Functions for programming the camcorder to the user's preferences.  Return to St. Louis Front Page 
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