American Cinematographer - November 1988 - 85

IIHIR) (SVfl 11
i t Introducing SUPEREDIT
W
Sp.1600 flatbed*

As usual, the

original story¬
boards had only a vague resemblance to the
final project. "The original boards showed

SE-1600 FLATBEDS

A

high-technology, "avant garde" 16 and SUPER 16
post-production and direct release system/lab.

that there would be a POV, but we wouldn't
know whose - a sort of god's eye POV

With these advanced features:-

editing, mixing, resolving,
transfers in-and-out, high¬
speed recording, dubbing,
digital transports and speed
control, application of magnetic
stripe on either side, time-code

moving through the caves," recalls Gutier¬
rez.

"We would hear this voiceover, two

people speaking the lines, and we would be
in Hell throughout. I thought that it might be
a little more fun if we could see the people
in an elevator that opened in Hell. Our

interlock.

Available

clients at Y&R liked that idea, so we

storyboarded it that

way,

and there

For

was

foreground, where we would sort of see the
true scope of Hell. We discussed doing it as
a miniature, but quickly realized that the
time and expense involved in creating as
large a miniature as we would need would
be impossible.
"So we talked to Mike Pangrazio
and Craig Barron about doing the 'Hell' and
then the 'Hell freezing over' as a matched
matte painting. We supplied all the fire
elements, shot on our stage, using a clip in
the gate, which is sort of a little cartoon
outline of the finished composition of Hell.
Craig then used the clip to composite with
Mike's painting. We also created a ground
fog effect to put a little mist in the fore¬
ground when Hell freezes over, and an
animated snow element to composite, in
video,

over

WET GATE

we

view of Hell without the actors in the

the finished Hell effect. The

animation of the devils was also created at
Colossal. The devils fly through the air, move

I for Bell & Howell C-Printer

°8420Kelheim/Donau

I for Rank Cintel Mark III Telecine
I for Bosch FDL 60 Telecine
I B&H C-Printer

t

Andreas Schmitzer

(sec. hand)

Rebenweg 41,
D-8420 Kelheim

Rebuilding set for B&H C-Printer
from 16

mm

of 35

mm

West-Germany
Phone: (09441)1539
Telex: 65449

with Wet Gate

mu -mm
EXCLUSIVE UPPER MIDWEST REP FOR JVC Mil

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around, hopping on rocks and so forth."

Pyrotechnician Peter Stolz laid
large pieces of alcohol-soaked Duvateen so that the entire floor is lit up when
the elevator door opens to reveal to various
full-scale set pieces that represent Hell.

shortly: video assist,
splicing robot for editing and
conforming.

H4S1E9 ortelephone: (514)334-1449

was actu¬

began
to feel that we would have to use a practical
set. But they also wanted to cut to a wider

information, write to:

SUPEREDIT, 2645 PAULUS, MONTREAL, CANADA

discussion about how we would
achieve the effects. We felt it was impor¬
tant that when the elevator door opened up
to reveal Hell, there would be interactive
some

light, giving the feeling that Hell
ally just outside the elevator. So

more

down

Bursts of butane flame

were

sized and

856

612-646■ 1780

Raymond Avenue St Paul, Minnesota 55114

Make A

placed to create the illusion of depth. This
element was shot live on a pyrotechnic set
with the actors in the foreground, inside the
prop elevator.
The spot then cuts to a wider

Change For The Better.
Introducing the original film chang¬
ing tent. The IV2 lb. darkroom that sets
up in seconds. The open interior gives
you the space you need to load and
unload faster, without frustration. And
the silver exterior keeps you cool and

view of Hell, the heart of which is Pan-

comfortable.

grazio's matte painting. Composited with it
are fire, interactive light, lava flow effects
and the prancing devils. "Mike did the Hell

about the

painting first," explains Gutierrez, "and

Ask your camera

equipment supplier
original Harrison Film
Changing Tent. It'll make your clumsy
old black changing bag look like a relic
from the dark ages.

we

The Harrison Film

Changing Tent

Contact us for more information.
Dealer inquiries welcome.

Camera Essentials

4391 Sunset Blvd.

Suite 352

Los Angeles,

CA 90029 (213)666-8936
American Cinematographer - November 1988

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