American Cinematographer - November 1990 - 82

Warner noted

simply,
single thing that makes my
job easier is coverage. The more
coverage - the more plastic the
"The

film becomes

-

the

manipulate it. We
scene.

We

can

more

can

I

can

rebuild

a

cut scenes and turn

them around 180

degrees. The
cinematographer knows
about the editing process the more
enlightened he can become about
more a

how to shoot movies."
Scant coverage can lock
the editor out of options in cutting
a scene. But if there is more
overlap
between different pieces of the se¬

then the editor has more
opportunity to cheat it. "Cheating
is often interpreted as meaning,
'We may have blown it! Now the
editor has to go in and do all these
horrible things to make the scene
quence,

$3,495.00
The
ever

versatile sound recorder

most

work/" continued Warner. "It isn't

designed for Super 8 filmmaking.

Records
mag

location

directly on Super 8
stock. Sync's with cameras,
on

multi-track recorders, and projectors.
Offer expires

Dec. 31, 1990

that at all. It is another chance to
rewrite the scene - to get some¬

swisom

SYS

T E M

California
Massachusetts

818-848-5522
617-876-5876

thing else on film that isn't in the
script.
"My philosophy is that the
film has nothing to do with the
script. The script is the germination
of the film, but to try and work from
the script after you've shot the film
is kind of ridiculous. The script
doesn't work anymore. All I've got
is what's
on a

SHOOT HERE.
SHOOT HERE II.
SHOOT HERE III.
SHOOT HERE IV.

on the screen and it takes
life of its own. It has its own

dynamics and logic. You need to
respond to that, because out of that
other ideas.
"The moral of this story is
that the more cinematographers
understand the editing process and
the more they realize the plasticity
of film, I think the less rigid they can
be within the context of shooting
the film. They can be more open to
come

trying new things - not necessar¬
ily in the lighting, but from the
standpoint of blocking, composi¬
tion and moving the camera.
"For instance, if the direc¬
pretty sure that the a scene is
running too long, it is important to
tor is

have coverage so that later, the di¬
rector and the editor can cut the
scene

down. You cannot cut a scene

down that is done in
Whether
and

you're planning a sequel or not, we have the people
locations to keep you coming back again and again. And again.
For

our

location

directory, call 206-464-7148.

WASHINGTON STATE

Write Film and Video Office, 2001 6th Ave., Suite 2700, Seattle, WA 98121

one camera

Or you can't cut a scene
down if the first part of the scene is

move.



American Cinematographer - November 1990

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

American Cinematographer - November 1990 - 1
American Cinematographer - November 1990 - 2
American Cinematographer - November 1990 - 3
American Cinematographer - November 1990 - 4
American Cinematographer - November 1990 - 5
American Cinematographer - November 1990 - 6
American Cinematographer - November 1990 - 7
American Cinematographer - November 1990 - 8
American Cinematographer - November 1990 - 9
American Cinematographer - November 1990 - 10
American Cinematographer - November 1990 - 11
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American Cinematographer - November 1990 - 13
American Cinematographer - November 1990 - 14
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American Cinematographer - November 1990 - 18
American Cinematographer - November 1990 - 19
American Cinematographer - November 1990 - 20
American Cinematographer - November 1990 - 21
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American Cinematographer - November 1990 - 29
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American Cinematographer - November 1990 - 34
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American Cinematographer - November 1990 - 37
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American Cinematographer - November 1990 - 43
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American Cinematographer - November 1990 - 60
American Cinematographer - November 1990 - 61
American Cinematographer - November 1990 - 62
American Cinematographer - November 1990 - 63
American Cinematographer - November 1990 - 64
American Cinematographer - November 1990 - 65
American Cinematographer - November 1990 - 66
American Cinematographer - November 1990 - 67
American Cinematographer - November 1990 - 68
American Cinematographer - November 1990 - 69
American Cinematographer - November 1990 - 70
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American Cinematographer - November 1990 - 78
American Cinematographer - November 1990 - 79
American Cinematographer - November 1990 - 80
American Cinematographer - November 1990 - 81
American Cinematographer - November 1990 - 82
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American Cinematographer - November 1990 - 84
American Cinematographer - November 1990 - 85
American Cinematographer - November 1990 - 86
American Cinematographer - November 1990 - 87
American Cinematographer - November 1990 - 88
American Cinematographer - November 1990 - 89
American Cinematographer - November 1990 - 90
American Cinematographer - November 1990 - 91
American Cinematographer - November 1990 - 92
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American Cinematographer - November 1990 - 94
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American Cinematographer - November 1990 - 97
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American Cinematographer - November 1990 - 102
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