The NFL Films archives contain hundreds of thousands of feet of film going back to the early part of the twentieth century. During the regular season NFL Films assigns at least two cinematographers to document each game. One is at field level and the other in a fixed position high in the stands at midfield. The number of cinematographers present is determined by the importance of the game. As the season progresses, several cameras will be used on important games, placed in strategic locations around the action. However, for the biggest game of the year, Steve Andrich, vice president/cinematography, NFL Films, wants every nuance captured on film.

"We assign each cameraman to cover specific parts of the game from selected points of view, but mostly we leave it to them to use their expertise and their experience to come back with exciting shots that capture the essence of the game," Andrich says.

NFL Films has developed a recognizable visual style. "Most people recognize us for the slow motion and the up-close, tight shots," says Andrich. "It's been described as 'athletic ballet'. It's the kind of thing you don't see unless you see it in slow motion."

For Super Bowl XXXIII, NFL Films had cinematographers in both end zones, in the stands and on the side-lines. Some cameramen shot slow motion footage, while others worked with long lenses. One cameraman concentrated on everything but the game, shooting the colorful fans and the hoopla that is so much a part of the Super Bowl.

Although fans will have seen the highlights, Andrich says NFL Films aims to do more than the networks in telling the story of a given Super Bowl. "We visually analyze the intricacies of the game," says Andrich. "With the long lenses and our ability to shoot real-time footage in slow motion, at 120 frames per second, we can show how the game develops and have a beginning, middle and end. We can show the ebb and flow of the game and how the players execute plays better than video does."

From its inception almost four decades ago, NFL Films has always used film. "It's a better way to get inside and tell the story of the game," says Andrich. "Film works on a subconscious level. Video has an electronic sheen to it. Film enables us to get inside the game and hit people on a gut level. We always shoot with available light. Whatever is there is what we shoot with. It's usually based on what the bare minimum footcandles the television guys need."

Andrich notes that at most Super Bowls it's dark by the second half. As the light gets dimmer, cameramen have generally cut back from recording 120 to 60 fps. NFL Films added a new dimension during the last Super Bowl. The new Kodak Vision 800-speed film was tested during play-off games and used extensively during the coverage of the game.

"We captured action on film that we never saw at night games before," says Andrich. "We could look into the stands and see fans' faces."

Veteran cinematographer Hank McElwee says the 800-speed film enabled him to capture two of the game's biggest plays. McElwee was stationed in one of the end zones, shooting with a Canon 400mm lens at T-2.8 when Denver quarterback John Elway hoisted a pass to wide receiver Rod Smith that was hauled in for a 70 yard touchdown.

"I was able to follow it the whole way," says McElwee. "There's no way I could have shot that at 120 fps in the past. Without the added two-thirds of a stop, I shudder to think what my film would have looked like."

Andrich says that his cinematographers who weren't shooting slow motion also benefited from the extra film speed.

"It gave us more depth of field so our focus was better," he says. "It gave us a sense of confidence going into the game that we'd come out with great looking footage. That's my opinion, but seeing is believing, and you can see it on the film."