American Cinematographer - November 1990 - 32

American

tion for

Cinematographer Manual - 6th Edition
There's

one on every movie set. A pocket size
encyclopedia of practical information about
cameras, lenses, films, exposure, depth of
field, lighting, special effects and more.

$34.95
add $2.50 postage

in U.S.,

$3.50 Foreign.
California residents add

$2.27 state tax.

To order

see

book order form in this magazine or send to:
The ASC Press, P.0. Box 2230, Hollywood, CA 90078

is

Steiger: "To

wonderful

a

me, real fire
of light, it

source

photographs great and the smoke
it creates looks good."
Steiger shot fire bars in
front of the camera. A fire bar is
"a tube with holes in it, fueled by

gas, placed in front of the lens, so
it looks like you're in the middle
of an inferno." The special effects

department put rubber cement on
the building doorways to create
the effect of a raging fire. "That
way, we could repeat scenes with¬
out actually burning the building
down." The exterior of the build¬

was set up with a tin-plated
window, so that the fire would

ing

not go

WHEN TED CHURCHILLNEEDED TO

CONTROL HIS SPEED, HE CAME TO US
What Ted Needed: A compact and rugged speed
control to mount on his Steadicam. It had to be

-

*

a

Panaflex Gold with Primo

lenses, to be exact. He doesn't

lightweight, reliable, and precise. And it had to
work with all popular 16mm and 35mm sync
cameras.

into the actual space. "The
building we ignited was a histori¬
cal landmark, Taylor's pride and
joy, so we couldn't very well burn
it down," Steiger explains.
Hot Spot marks the first
time Steiger has used Panavision
equipment, nor does he
"you become a
workshop what with the up¬
keep," but he's used to shooting
with an Arriflex BL3. At one point
the decision was made to go with
own

any

want to because

%

an

Arri, but "we went to Panav¬

ision because

Greg Lundsgard
prefers Panaglide. There are only
three Panaglide cameras in the
country, but Lundsgard had ac¬
cess

to

one

of them, so it was a

very down-to-earth decision, and
I didn't mind at that point. What
concerned me was the lenses."
t

Steiger likes Zeiss lenses,

PHASE

;imal

*1#»»***»*

Hm SAft
AMY SHUTTS*

but he'd heard good things about
the new Primo zooms. "Those
zooms were another reason
why

Mtttit

I

What Ted Got:

Arri, Aaton and
rPanavision

compatibility,
Speeds from 1.000 to

was
eager to try Panavision," he
said. He used zooms for two
thirds of the film, "as a variable
focus lens, and because of the way
we

worked, it

799.99 FPS in two ranges,

A

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30

Because

5

Digit Speed Control
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great tool to

Hopper works

extensively on the video monitor,
there

video assists
"Dennis needs to

were

cameras.

on

all

see an

as

opposed to imaging

what I'm

getting through the
he looks at a tiny

image

cameras, so

MEDIA LOGIC of New York, Inc.
454 Broome St New York, NY

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have."
American Cinematographer - November 1990

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