American Cinematographer - November 1988 - 32

THE
16SR BOOK
A Camera Assistant's Guide
to the

System.

16SR Book, designed
both assistants and SR owners,

Our

new

for

detailed guide to
systems and a
complete assistant's manual for prep,
operating and maintenance techniques
incorporates both

Arriflex 16SR

that

can

a

camera

be used

on

most

camera

of
Photography Jon Fauer's goal was to
detail
every aspect of the SR from
systems. New York Director

lenses to electronics and to illustrate a
variety of production solutions to
problems assistants commonly face.
So, in addition to sections on the SR's
design, handling and range of lenses
and accessories, we've included as¬

sistant-oriented sections with

in-depth
simple lens
tests, checking depth and collimation,
marking eyepiece focus, and video
assist adjustments.
The Book also features explodedcoverage on

setups for

drawings of every SR component,
an end-of-day cleaning/maintenance
checklist, Zeiss depth-of-field charts,
an SR camera ID pullout section and a

view

Worldwide Arriflex Service Center list.
And there's much, much more. Call or

ture visual

humor. But it's

played
very straight, because that's the
structure of black comedy."
Kenny allowed the move¬
ment

of the actors to determine the

movement

of the camera,

nique he refers to
movement." Lenses

as

a

tech¬

were

chosen

and distance.

Continental USA orders
by phone
with VISA or MasterCard by calling

or send check or
order for $19.95 plus $2.50

(914) 353-1400;
money

shipping.
International orders with
or MasterCard

only. Send to:
Corporation, 500 Route 303,

VI5A

Arriflex

Blauvelt, NY 10913.

City
State

Zip

303, Blauvelt, NY 10913
(914)353-1400 TWX 7105752624 FAX (914) 425-1250
600 No. Victory Blvd., Burbank, CA 91502 (818) 841-7070
TWX 9104984641 FAX (818) 848-4028
©1988 ARRIFLEX CORPORATION

tmmm mm

one

rave reviews. "I think it's
of the the best products they've

with," he says. "It
gives the HMI a full-bodied look
that only the arc light used to give.
It has extremely fine grain and a
ever come

out

true ASA of 250.

We had many

the 5297

soft cons, low cons, and the Mit¬
chell diffusions, and found that the

(chroma 50's). We carried four 12K
HMI's, which would be used to key

eral

superfrosts were preferable for sev¬
reasons. There was
very little

bounce with

focus loss, the blacks did not white

to

out, and there was no stop

at around a T4. For the

only problem with

ors,

loss. The
superfrost fil¬
ter is that if it gets scratched, that's
it. Throw it away and get another.
We went through about a dozen
Superfrost filters. I used the new
a

on

the windows.

terrific

daylight situations where
was
perfect - offices,
classrooms and hallways. For these
scenes, I would key with something
other than florescent overheads

through windows. We would
a

corrected HMI par

fill, and usually end up shooting

day exteri¬

I used 5247, and for all the

night work and tungsten interiors I
Fuji 8514, rating it at around
400 ASA. I really wanted to use the
used
new

Kodak 5295, but found after

extensive

testing that the Fuji film

of finer

product, because it
cuts the light a full three stops, it
doesn't rattle in the wind like acryl¬
ic gel, it doesn't reflect lights, and

was

it over and over
again, which is something a pro¬
duction manager can relate to.

into the darkness it wins

a

Arriflex Corporation: 500 Route

mam mam

gives it

Superfrost filters (0 and 0 +). I real¬
ly love the BL but I wish they could
just make the mags quieter," says
Kenny "We shot tests on the Tiffen

you can re-use

>4RRr

Arriflex

than

more

interior

It is

Address

an

Kenny used

100,000 feet of Kodak's new 5297
film stock for Heathers, and he

BL4, Zeiss high speed lenses, and

Rosco black scrim

Name

tography Francis
Kenny checks
Ryder's light on the
steps of the ficti¬
tious Westerburg
High.

"organic

according to the characters. The
girls would always be shot with
longer lenses like a 50mm or
85mm, and Kenny and his crew
took great pains to ensure that all
close-ups and their reverses were
equally matched in terms of lens
"We shot with

Director of pho¬

November 1988

under and
was

a

grain and handled the
exposures better. It

over

little

more

pastel than the

Kodak, but just in terms of seeing

by

a

half

stop. It also handled a three stop
over

exposure on

windows better
American Cinematographer - November 1988

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