American Cinematographer - March 2016 - 74
◗
Cutting-Edge Cameraman
rated with Howard Preston "on the
design and building of the MicroForce
Zoom control, which has since become
standard equipment on film sets
throughout the world," Bennett notes.
Additionally, Dexter and Bennett
collaborated on the design and
construction of the Terra-Flite, "a stabilized camera system mounted on a
camera car," Bennett explains, "which
enabled smooth photography of the
running horses in The Black Stallion
Returns - and was later used on
Silverado, To Live and Die in L.A.,
American Flyers and Howard the Duck."
The Terra-Flite utilized then-new technologies, which they had to create from
scratch, "such as gyroscopic stabilization, remote follow-focus, video assist,
and remote pan-and-tilt control,"
Bennett says.
After setting off on his own as a
cinematographer, Bennett began finding work shooting cars and eventually
became one of the very few top "car
guys." He recalls, "The system I developed with [key grip] John Stabile and
[gaffer] Pat Kirkwood [for] lighting
automobiles on a stage developed over
about 10 years. When I first started
doing car commercials, you would put
the car on a stage, stretch a big silk or
taffeta over the entire ceiling, and hang
maybe 36 box lights with six bulbs each.
That evolved into making much bigger
boxes with diffusion on the bottom, and
then from there we'd use nook lights,
foam core and tracing paper to get a
more refined look. Somebody made a
version that became the Fisher Light,
and then everybody in the industry was
using them. But the downside was that
all car commercials started looking the
same, so then we would start turning
some of the lights off on this thing and
pointing Par cans down one side of the
Fisher Light from the floor to create a
gradation. One day we looked at each
other and said, 'Why are we renting this
big, expensive Fisher Light and turning
all the internal lamps off?' So then we'd
build a rock 'n' roll truss frame with
seamless muslin on it and attach lights
to one side of it. Those frames kept
Top: Bennett and 1st
AC Craig Devereux
shooting for Kia in
Vancouver, B.C.,
Canada, in January
2003. Middle:
Bennett and
Devereux working
on a Ford truck
commercial. Bottom:
Bennett on a shoot
with (beneath
camera, from left)
Devereux, gaffer
Dennis Wehr and
key grip John
Stabile.
74
March 2016
American Cinematographer
American Cinematographer - March 2016
Table of Contents for the Digital Edition of American Cinematographer - March 2016
Table of Contents
American Cinematographer - March 2016 - Intro
American Cinematographer - March 2016 - Cover1
American Cinematographer - March 2016 - Cover2
American Cinematographer - March 2016 - 1
American Cinematographer - March 2016 - 2
American Cinematographer - March 2016 - Table of Contents
American Cinematographer - March 2016 - 4
American Cinematographer - March 2016 - 5
American Cinematographer - March 2016 - 6
American Cinematographer - March 2016 - 7
American Cinematographer - March 2016 - 8
American Cinematographer - March 2016 - 9
American Cinematographer - March 2016 - 10
American Cinematographer - March 2016 - 11
American Cinematographer - March 2016 - 12
American Cinematographer - March 2016 - 13
American Cinematographer - March 2016 - 14
American Cinematographer - March 2016 - 15
American Cinematographer - March 2016 - 16
American Cinematographer - March 2016 - 17
American Cinematographer - March 2016 - 18
American Cinematographer - March 2016 - 19
American Cinematographer - March 2016 - 20
American Cinematographer - March 2016 - 21
American Cinematographer - March 2016 - 22
American Cinematographer - March 2016 - 23
American Cinematographer - March 2016 - 24
American Cinematographer - March 2016 - 25
American Cinematographer - March 2016 - 26
American Cinematographer - March 2016 - 27
American Cinematographer - March 2016 - 28
American Cinematographer - March 2016 - 29
American Cinematographer - March 2016 - 30
American Cinematographer - March 2016 - 31
American Cinematographer - March 2016 - 32
American Cinematographer - March 2016 - 33
American Cinematographer - March 2016 - 34
American Cinematographer - March 2016 - 35
American Cinematographer - March 2016 - 36
American Cinematographer - March 2016 - 37
American Cinematographer - March 2016 - 38
American Cinematographer - March 2016 - 39
American Cinematographer - March 2016 - 40
American Cinematographer - March 2016 - 41
American Cinematographer - March 2016 - 42
American Cinematographer - March 2016 - 43
American Cinematographer - March 2016 - 44
American Cinematographer - March 2016 - 45
American Cinematographer - March 2016 - 46
American Cinematographer - March 2016 - 47
American Cinematographer - March 2016 - 48
American Cinematographer - March 2016 - 49
American Cinematographer - March 2016 - 50
American Cinematographer - March 2016 - 51
American Cinematographer - March 2016 - 52
American Cinematographer - March 2016 - 53
American Cinematographer - March 2016 - 54
American Cinematographer - March 2016 - 55
American Cinematographer - March 2016 - 56
American Cinematographer - March 2016 - 57
American Cinematographer - March 2016 - 58
American Cinematographer - March 2016 - 59
American Cinematographer - March 2016 - 60
American Cinematographer - March 2016 - 61
American Cinematographer - March 2016 - 62
American Cinematographer - March 2016 - 63
American Cinematographer - March 2016 - 64
American Cinematographer - March 2016 - 65
American Cinematographer - March 2016 - 66
American Cinematographer - March 2016 - 67
American Cinematographer - March 2016 - 68
American Cinematographer - March 2016 - 69
American Cinematographer - March 2016 - 70
American Cinematographer - March 2016 - 71
American Cinematographer - March 2016 - 72
American Cinematographer - March 2016 - 73
American Cinematographer - March 2016 - 74
American Cinematographer - March 2016 - 75
American Cinematographer - March 2016 - 76
American Cinematographer - March 2016 - 77
American Cinematographer - March 2016 - 78
American Cinematographer - March 2016 - 79
American Cinematographer - March 2016 - 80
American Cinematographer - March 2016 - 81
American Cinematographer - March 2016 - 82
American Cinematographer - March 2016 - 83
American Cinematographer - March 2016 - 84
American Cinematographer - March 2016 - 85
American Cinematographer - March 2016 - 86
American Cinematographer - March 2016 - 87
American Cinematographer - March 2016 - 88
American Cinematographer - March 2016 - Cover3
American Cinematographer - March 2016 - Cover4
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