American Cinematographer - May 1988 - 49

lin, Batista and Castro, all found
and transferred in this way,

and all
quality. Yet, when we
went to find more recent images of
Castro, they were practically all
shot on video. Ironically, modern
video documents are usually of in¬
ferior quality, even though they're
of exceptional

in color and have sound. The

ber of lines that video

uses

to

Peter Lisand introduces

num¬

recon¬

a

struct

the

a

completely

new

line

ty engineered, highly flexible and
trouble-free camera heads. We uti¬
lize the latest engineering, mate¬
rials and technology to bring you

images simply don't match
fine grain and sharpness of

black and white film. The transfer

from video to film is

inherently in¬
compatible because video creates
30 frames per second while film
uses 24. The result is never
quite
satisfactory. When blown up on a
big screen, those images lack defi¬
nition. Future generations may well
have a precise idea of what Presi¬

simple precision instrument
that will provide a worthy
companion for our inter¬
nationally recognized
tripods. We invite you to
call
more

or

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or to ar¬

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dent Roosevelt looked like, but will
have a very shaky, blurry image of

instruments

President Carter. Such is progress.

Still, I must admit that in contrast
with film, the trembling imperfect
texture of video transferred to film
a
feeling of immediacy, of
actually happening.
Our basic idea for Nobody
Listened, in terms of style, was that
the real documentary is found in

creates
news

the uncut rushes. We wanted to

preserve their quality, though we
would obviously have to condense
the footage. We wanted the film to
be edited in the most unadorned

Our Super Grips
Are Out Of This World

For this apparently easy, yet
actually difficult task, we relied on
the talents of two exceptional wo¬
men, Gloria Pineyro and her associ¬

yet gone to the extreme of mounting
equipment onto the side of a space
vehicle with our Super Grips. But they

ate, Esther Duran.

do

way.

As is

commonly known,
important in docu¬
mentary filmmaking than in any
other genre. Yet, with time, I have
come to reject the overedited, re¬
constructed documentary that I so
much admired in my youth, i.e.
editing is

more

Ioris Ivens, Leni

Riefenstal, the

Film and video

professionals haven't

employ the camera mounting and
rigging ease of the Super Grip trio in a
variety of difficult shot situations. The
Super Grip II, Jr., and Baby with their
special vacuum pumps, easily grip

onto cars,

boats, planes, motorcycles

and snowmobiles. Just like the
constant and powerful suction of

gravity itself.
With a Super Grip in your bag of grip
tricks, you get super shots every time.
Just ask a pro who has owned or
rented one.
Write or call for details

today:

ear¬

ly Soviet school. In their films there
was

too much mise-en-scene. I be¬

lieve that in

documentary, the less
editing, the better.

fireworks in the
With

this

film,

we

thought the ''seams'' should be
seen
occasionally. If an interview
had been abridged, the audience
should perceive that, even if it
means a

jump cut. To let

know that

a

a

reader

written statement has

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47
American Cinematographer - May 1988

Table of Contents for the Digital Edition of American Cinematographer - May 1988
