American Cinematographer - July 1990 - 59

sky problems. "Any time you try
to matte a miniature foreground
into any kind of sky, the problem
is that the edge where the two
come
together is too sharp,"
Funke sighs. "Almost every shot
in this film had to have a sky
matted in, and each one
own

had its

special characteristics. Eric

devised a brilliant solution: we
shot two mattes. First, a normal
matte of the edge of the horizon,
which was a lighted white sur¬
face adjoining the dark horizon of
the landscape - and a matte in

smoke, which made the white
the edge
landscape and sky
meet, so it grades down very
gently and softens the hard edge.
When we put the sky in, we used
both mattes together, so the sky
exposure leaks very slightly
matte flash down over

where the

down below the horizon to create
a faint fuzzing of the edge, and it
looks very beautiful."

"During the live action
production we had many discus¬
sions with the director and the

cinematographer," Brevig says,
"but they didn't really want to
yield to the idea that we should
have a bit of atmosphere, even
though Mars itself actually has

Beaulieu 7008 Pro

Super 8 Camera
The Ultimate
*

*

*

*

*

Advantages:

Rivals 16mm & 35mm

on

Video

Accepts All C-mount Lenses
Crystal Speed Control
Weighs Less Than 6 lbs.
Other Options Include:
video asist, 20 hr.
underwater

battery belt,
bag, matte box, blimp, and

more

dust clouds and winds. I came up
with the idea of using a smoky
matte and a clean air matte to¬

gether, which gave us infinite
variability to the amount of at¬
mospheric perspective you see.
"On Earth," Brevig con¬
tinues, "when you look to the
horizon, the sky color fills in the
atmospheric shadow area pro¬
portional to the distance. By
shooting very dense smoky
mattes

backlit,

we were

able to

photographic element
that allowed us to percentage in
the matte painting sky exactly
proportional to the distance. It
allowed us to adjust this percent¬
age from shot to shot, so if a se¬
quence looked a little too clear,
create a

we

could fix it."

Mars

"

You

visually see the difference
against any other lens.
The Prirnos are outstanding."

can

Byron Wardlaw
"Las Vegas -The American Way to Play" Commercials

Quaid's arrival at the
spaceport and subsequent

train ride into the Martian city is
one of the most spectacular ef¬
fects highlights in a spectacular
show. The sequence actually
encompasses

two elaborate ef-

-PA NA VISION.



American Cinematographer - July 1990

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