American Cinematographer - February 2014 - 49
actually back in Hawaii - or, in the
context of the story, Costa Rica."
Cundey loves confronting new
challenges. "On Jurassic Park, we were in
completely unfamiliar territory, and we
constantly had to be thinking. You can't
run on autopilot or fall back on formulas in that kind of situation. We were
trying to sell the audience on the idea
that dinosaurs had actually been created,
and the audience really does buy it!"
As impressed as Cundey was
by the CGI creatures, he considered Winston's animatronic dinosaurs
equally mind-blowing. The T-Rex was
18' high and operated by a sophisticated
computer system. "You had to be very
careful when standing around the creature," says the cinematographer. "If the
computer shorted out for any reason,
the [T-Rex] could lunge!"
Visual-effects supervisor Ken
Ralston, who worked with Cundey on
Roger Rabbit, Death Becomes Her (1992)
and the Back to the Future trilogy,
declares, "When you're on a film with
Dean, it's really teamwork. He is interested in the technical problems we have
to solve, and he is incredibly helpful in
getting what we need to make the shots
work. Plus, he is just hilarious. The
demands on a Zemeckis film are great,
and Dean met them with aplomb and
panache, and he also kept me and everybody else chuckling."
Cundey earned an Academy
Award nomination for Roger Rabbit,
which combined hand-drawn animation with live-action footage, requiring
compositing via an optical printer.
"Dean helped create a lot of the motioncontrol techniques used in Roger
Rabbit," notes Burum. Cundey also
worked with Industrial Light & Magic
on designing the two VistaFlex cameras
used to shoot the picture. "ILM did a
brilliant job building them from
scratch," says Cundey.
The custom cameras required
blimps, and companies in New York
and London (where most of the film
was shot) said they would take six
months to build. With production set to
begin in three weeks, Cundey, who was
Top: Cundey
adjusts models
used as stand-ins
on the set of
Who Framed
Roger Rabbit.
Middle and
bottom: Cundey
at work on Hook.
www.theasc.com
February 2014
49
http://www.theasc.com
American Cinematographer - February 2014
Table of Contents for the Digital Edition of American Cinematographer - February 2014
Table of Contents
American Cinematographer - February 2014 - Cover1
American Cinematographer - February 2014 - Cover2
American Cinematographer - February 2014 - 1
American Cinematographer - February 2014 - 2
American Cinematographer - February 2014 - Table of Contents
American Cinematographer - February 2014 - 4
American Cinematographer - February 2014 - 5
American Cinematographer - February 2014 - 6
American Cinematographer - February 2014 - 7
American Cinematographer - February 2014 - 8
American Cinematographer - February 2014 - 9
American Cinematographer - February 2014 - 10
American Cinematographer - February 2014 - 11
American Cinematographer - February 2014 - 12
American Cinematographer - February 2014 - 13
American Cinematographer - February 2014 - 14
American Cinematographer - February 2014 - 15
American Cinematographer - February 2014 - 16
American Cinematographer - February 2014 - 17
American Cinematographer - February 2014 - 18
American Cinematographer - February 2014 - 19
American Cinematographer - February 2014 - 20
American Cinematographer - February 2014 - 21
American Cinematographer - February 2014 - 22
American Cinematographer - February 2014 - 23
American Cinematographer - February 2014 - 24
American Cinematographer - February 2014 - 25
American Cinematographer - February 2014 - 26
American Cinematographer - February 2014 - 27
American Cinematographer - February 2014 - 28
American Cinematographer - February 2014 - 29
American Cinematographer - February 2014 - 30
American Cinematographer - February 2014 - 31
American Cinematographer - February 2014 - 32
American Cinematographer - February 2014 - 33
American Cinematographer - February 2014 - 34
American Cinematographer - February 2014 - 35
American Cinematographer - February 2014 - 36
American Cinematographer - February 2014 - 37
American Cinematographer - February 2014 - 38
American Cinematographer - February 2014 - 39
American Cinematographer - February 2014 - 40
American Cinematographer - February 2014 - 41
American Cinematographer - February 2014 - 42
American Cinematographer - February 2014 - 43
American Cinematographer - February 2014 - 44
American Cinematographer - February 2014 - 45
American Cinematographer - February 2014 - 46
American Cinematographer - February 2014 - 47
American Cinematographer - February 2014 - 48
American Cinematographer - February 2014 - 49
American Cinematographer - February 2014 - 50
American Cinematographer - February 2014 - 51
American Cinematographer - February 2014 - 52
American Cinematographer - February 2014 - 53
American Cinematographer - February 2014 - 54
American Cinematographer - February 2014 - 55
American Cinematographer - February 2014 - 56
American Cinematographer - February 2014 - 57
American Cinematographer - February 2014 - 58
American Cinematographer - February 2014 - 59
American Cinematographer - February 2014 - 60
American Cinematographer - February 2014 - 61
American Cinematographer - February 2014 - 62
American Cinematographer - February 2014 - 63
American Cinematographer - February 2014 - 64
American Cinematographer - February 2014 - 65
American Cinematographer - February 2014 - 66
American Cinematographer - February 2014 - 67
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American Cinematographer - February 2014 - 69
American Cinematographer - February 2014 - 70
American Cinematographer - February 2014 - 71
American Cinematographer - February 2014 - 72
American Cinematographer - February 2014 - 73
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American Cinematographer - February 2014 - 77
American Cinematographer - February 2014 - 78
American Cinematographer - February 2014 - 79
American Cinematographer - February 2014 - 80
American Cinematographer - February 2014 - 81
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American Cinematographer - February 2014 - 88
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American Cinematographer - February 2014 - 91
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American Cinematographer - February 2014 - Cover3
American Cinematographer - February 2014 - Cover4
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