American Cinematographer - July 1990 - 66

NEW

do many, many takes and
hope we learned something from
the previous takes."
One of the last shots of
the film, in which the rebel forces
and others emerge from build¬

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which was a separate matted-in
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element. One of the elements

was

rear-projected into the set, and
everything else is front projected
on
pieces of Strathmore paper.
When

we were

all done, we had

seventeen elements to the

shot,

and it took 28 hours to shoot
because of all the color separation
passes on each element.
"The more elaborate,

high-tech and state of the art your
equipment," Brevig points out,
"the more you'll get sunk by
something as simple as a threecolor separation that doesn't reg¬
ister! It's sort of like student film

problem solving even though it's
a
giant feature. No matter how
high falutin' the techniques we
come
up with are, and some of
them are scary in their complex¬
ity, a shot like the pullback with
all the people is still solved using
technology that's been around
since 1920! You're constantly
being humbled, you can't take
anything for granted. You can
have the nicest shot in the world,
but if you can't get the three-color

separations to register over the
people in the window, it doesn't
matter how nice your camera

is. There's a real feeling of
triumphing against the odds
when we pull off shots as com¬
plex as these."
A
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See the December issue for an expla¬
nation of the computer graphics in
Total Recall.

American Cinematographer - July 1990

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