American Cinematographer - November 1988 - 66

FIRST IN THE WORLD
ARRI-COMPATIBLE FRIES MODIFIED MITCHELL CAMERA BODY

FIRST IN AMERICA
12 MM T2.1

PL ZEISS WIDE ANGLE PRIME LENS

FIRST OUTSIDE HOLLYWOOD
25-250 MM T2.3 TECHNOVISION-COOKE ZOOM LENS

they could be used on location. The
riders who played Federales and
Apaches rode on top or in the
boxcars.

FIRST IN SAN FRANCISCO
FIRST ARRIFLEX 35 BL FOUR CAMERA BODY
FIRST CEI VIEWPOINT VIDEO ASSIST SYSTEM
FIRST NORRIS INTERVALOMETER SYSTEM
FIRST JURGEN ORIENTABLE VIDEO DOOR
FIRST ARRIFLEX 35 BL III CAMERA BODY
FIRST MICRO FORCE ZOOM CONTROL
FIRST COOKE VAROTAL 5-1 ZOOM LENS

FIRST COOKE VAROTAL 10 1 ZOOM LENS
FIRST CEI VP II VIDEO ASSIST CAMERA
FIRST ZEISS CLOSE FOCUS LENS SET
FIRST ARRI III 1000 FT MAGAZINES
FIRST SACHTLER 7 + 7 STUDIO HEAD
FIRST ARRIFLEX IIC PL HARD FRONT
FIRST ZEISS 10-100 T2 ZOOM LENS
FIRST WILSON SUPAFROST FILTERS
FIRST PRECISION SPEED CONTROL
FIRST NIKKOR 200 MM T2 PL LENS
FIRST ARRIFLEX HI SPEED 16 SR
FIRST ARRIFLEX 35 III CAMERA
FIRST ZEISS 60 MM MACRO LENS
FIRST CANON 300 MM PL LENS
FIRST CANON 400 MM PL LENS
FIRST CANON 800 MM LENS

FIRST CANON 14 MM PL LENS
FIRST 150 600 MM PL LENS

CAMERA RENTALS

"We used HMIs outside

when
we

possible, but in some cases all

could

cause we

reflectors, be¬
get the lighting

use were

couldn't

equipment into some of those
places," Elsenbach recalled. "Out¬
side I always use a Spectra meter
with the spear. All my interior
lighting is calculated in footcandles
I never take the spear in¬
side to read because the lights
vary
up and down the scale. I measured
each light source by itself and
-

worked at 10,15 or 20 footcandles. If
I

<5>
■ INCORPORATED*

Lee uttemsach
151 KING STREET, SAN FRANCISCO, CA 94107, TEL. 415-974-1982, FAX. 415-541-9365

every light I know exactly
getting. I know, for exam¬
ple, that 25 footcandles gives me a
2.8 stop."
measure

what I'm

"We

were

miles

an

going about 20

hour when,

suddenly, the train went
off the track! It started

bouncing and going baboom! ba-boom!

AMERICAN

CENEMEDITOR
Honorary Professional Society - American Cinema Editors, Inc.

it hit

the railroad ties and the
cars were

A Publication of the

as

rickety,
across

buckling up."

Photographing aboard a
train jiggling
undulating terrain made
narrow gauge

most conventional camera mounts

impractical. On Saturday before
shooting started, Elsenbach made
tests. "We rented a
Tyler mount and
put it inside. It was as wide as the
train, but it worked. There

was so

much movement, however, that the

floating and I couldn't
steady. I figured it would
make people seasick! We also tried
a
tripod and a mini-mount, but
what worked best was a special
unipod which normally is used for
making background plates. The
grips used dri-wall screws to bolt
camera was

hold it

the braces down, so that when the
train moved the camera moved
with it instead of floating off in

opposite directions. We laid tracks
alongside the railway when we
wanted dolly shots of the train.

64
American Cinematographer - November 1988

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