snap at the New England 14 yard line (roughly 40 yards from the camera), hold his focus on the football leaving Manning's hand, gradually zoom out and adjust the focus as the ball spiraled toward him, and complete the shot with a wide-angle view of Burress torching cornerback Ellis Hobbs on a fade route and catching the pass in the end zone, maybe 15 yards in front of Marx. Forward to 8:53 to see the catch. By comparison, a brief aside: In his memoir Making Movies , the late, honorary Oscar-winning filmmaker Sidney Lumet recounts all that went into one shot of the train leaving the station in Murder on the Orient Express -- the logistical contortions contrived by himself, his cinematographer, his camera operator, his focus puller, his lighting crew and the gang of professionals who took all day just to figure out how to zoom in on a passenger car's logo as it came and went. Thirty-four years later on a sideline in Glendale, Arizona, Marx had less than a minute to set up and six seconds -- 720 frames -- to shoot using essentially the same filmmaking principles. By himself. In slow motion. On the one hand, he'd had years of practice: It is Marx's shot, the "OH GOD!" Special that Sabol so heartily encouraged and which he, the entire NFL Films crew and, perhaps more subconsciously, their millions of viewers came to expect, Super Bowl after Super Bowl. He honed the shot from experience as a