American Cinematographer - February 1990 - 58

4x4 Universal
Production Matte Box

Geocam

lish those parameters at the outset,
and then to work within them.
"In the old fashioned days
before there were zoom lenses, the

cinematographer and the director
why they were
using a particular lens, and I think
that's a very positive kind of disci¬
pline. We never looked through a
had to think about

conventional director's viewfin¬
der. We always had a viewfinder
that would take the lenses, and

give us proper compositional
qualities and lens perspective, so
we could see
exactly where the
camera
really should go.
"I like that kind of disci¬

pline - I find it very interesting in
terms of lighting, because I'm
thinking about the lighting in rela¬
tion to a specific compositional
effect. It's not a lit set which we
then come into and find shots by
chance.
"This is not to say I don't
do prelighting; I do. Hopefully,
we've worked out in advance the
kinds of shots we want - not

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coverage, but shots that are going
to be used. Bob does not like to
shoot coverage. So it's very eco¬
nomical. The total exposed nega¬
tive is

quite low - it's much lower

than one would imagine on a film
of that size and length of shooting.
We do maybe five or six takes on

average.

ANNOUNCING...

SILVER BEAM
XENON

SEARCHLIGHT

SYSTEMS

"I used Peppers exten¬
sively when I was supplementing
practicals, because they're the
most wonderful
ues.

"It's almost

lighting

tool," he contin¬
a

revolution in

far as I'm concerned,
the LTM Peppers. They are as
important to cinematography as
the development of the HMI light,
as

but for different reasons; for their
*

*

Wattage Range: 1000-7000
Model Sizes: 9", 14" and 20"
DESIGNED FOR USE IN

MOTION PICTURE/TELEVISION

portability and controllability, and
their size. Fortunately, we have the
finer grain, faster negative which
makes them possible.
Today,
these are the lighting packages for
tungsten lighting situations. AIK
lamp is almost too big. A 400 or a
tweenie, at 650, is a big lamp. I had
a

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2800 THIRD STREET

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few tweenies, but I found that the

Peppers, from 100 watts to 300
watts, largely filled all my require¬
ments. They also blended in very
effectively with the existing prac¬
tical lights, and I could control the
color temperature with dimmers."
Extensive

prerigging was
in the camp - a major
undertaking by any standard. In
necessary

order for the camp to ready for
shooting on February 2,1989, work

began

on

the 50-year-old fixtures



American Cinematographer - February 1990

Table of Contents for the Digital Edition of American Cinematographer - February 1990

American Cinematographer - February 1990 - 1
American Cinematographer - February 1990 - 2
American Cinematographer - February 1990 - 3
American Cinematographer - February 1990 - 4
American Cinematographer - February 1990 - 5
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American Cinematographer - February 1990 - 7
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American Cinematographer - February 1990 - 18
American Cinematographer - February 1990 - 19
American Cinematographer - February 1990 - 20
American Cinematographer - February 1990 - 21
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American Cinematographer - February 1990 - 25
American Cinematographer - February 1990 - 26
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American Cinematographer - February 1990 - 28
American Cinematographer - February 1990 - 29
American Cinematographer - February 1990 - 30
American Cinematographer - February 1990 - 31
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American Cinematographer - February 1990 - 33
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American Cinematographer - February 1990 - 35
American Cinematographer - February 1990 - 36
American Cinematographer - February 1990 - 37
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American Cinematographer - February 1990 - 40
American Cinematographer - February 1990 - 41
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American Cinematographer - February 1990 - 43
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American Cinematographer - February 1990 - 48
American Cinematographer - February 1990 - 49
American Cinematographer - February 1990 - 50
American Cinematographer - February 1990 - 51
American Cinematographer - February 1990 - 52
American Cinematographer - February 1990 - 53
American Cinematographer - February 1990 - 54
American Cinematographer - February 1990 - 55
American Cinematographer - February 1990 - 56
American Cinematographer - February 1990 - 57
American Cinematographer - February 1990 - 58
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