American Cinematographer - November 1990 - 77

challenge anybody to tell the dif¬
ference if it was shot on any of
these studio streets. Nobody can
tell. Then they say, 'but I need

MEXICO
HIGH PRODUCTION VALUES, LOWER
You say your idea calls
or the Amazon jungle,

shots in Central Park.' Well,
shoot a little bit in Central
Park and then we can be in any
some

Europe. Or the South Pacific. Or
practically legend.
Cine South is a production service company with all the equipment and personnel
you
need when filming in Mexico. We have more than 15 years experience in
producing
films and commercials. Studios, equipment, crews, locations-they are all here. And
we make it easy, at prices you won't believe. Send us
your scripts, boards, specs,
or letter by FAX. You will hear from us
immediately, or we'll eat our sombreros.

tell it. Sometimes we can save
much time and do great things on
the lot that we can't do on loca¬
tion."

used to write

scenes

that

a

Mexico has locations that look almost identical to
the U.S. And the economics of shooting here are

park, anywhere, and nobody can

expressed some
definite opinions about night ex¬
terior photography. "Writers

COSTS.

shot in the English countryside, French Riviera, Italy, Japan,
but your budget says ''No Way!"
Don't throw your idea away. Shoot in Mexico instead, for about Va the cost to shoot
in Europe or the U.S.

we can

Zanetti

for

IT'S NEVER BEEN EASIER TO FILM IN MEXICO

CINE SOUTH de MEXICO
CONTACT: MARK PITTMAN

DIAL DIRECT: 011-525-684-0869 FAX: 011-525-679-7097

are

impossible, like, 'night, exterior,
the middle of nowhere.' We had
such a challenge with a huge
scene in Griffith Park at
night. The

light is coming from the bushes.
Why? I prefer to invent a pretext
for light, or even go to the old day
for night if there is no artificial
light involved. I think that night
for night exteriors, unless you're
in the city, look fake. Here we
have a movie where reality is not
so
important. The sets already are
so unusual so if on
top of that if
the light is very strange it might
detract from the reality of the set.
In the sketches I put the light
coming from windows trying to
emphasize the reality. Half of the
movie is night so we have the
'moonlight' coming through the
skylights, and it works."

Update & Add 'Macro-Focus'
to Your Cooke Speed Panchros.

Such is the work of the

designer of a movie in which re¬
ality and fantasy must be pro¬
jected with equal force, and spec¬
tacle must be achieved without

losing sight of the down-to-earth
business of cost. "We

are

going to

change the rotunda set once more
for a different set for a big Hal¬
lowe'en party," he said in illustra¬
tion of the latter consideration.
"There will be windows where
the mural is now and the columns
that are now in the corridor are

going to form

a double circular
colonnade. This will be the third

purpose of the set, so we've really
got all the juice possible out of

these modules."

A

Century Precision's Series 2000 Cooke
Speed Panchro Conversion will revitalize
and provide new innovative features for
your lenses.
'Macro-Focus'.
We offer the only Cooke Speed Panchro
Update Conversion with 'Macro-Focus.'
Especially handy for table-top cinematog¬
raphy, this feature enables ultra-close fo¬
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yields normal studio-type calibration, a
second turn effects the macro capability.

Thus, the I8mm focuses down
Your

to

1.5"!

Optics-Our Housing.

PL Mount, Large Engravings, & Arri
System Compatibility.
Your updated Panchros will feature stain¬
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T-stops and large, clear, brightly-colored
focus and iris scales.

Project 2000 Quality.
In keeping with our Project 2000 Series,
each lens is updated with the highest qual¬
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information about this Update or any of
our products, please call Jeff Giordano.

To maintain the famous Cooke

Panchro 'look', we use your

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lens barrel

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external lens housings.

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/)

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Hollywood CA 91601
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American Cinematographer - November 1990

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