American Cinematographer - November 1990 - 91

cause

that's the way pilots are - they're
they're in an air¬

not themselves until

plane, that's when they become whole.
When the flight surgeon's inside, I
wanted him to be in a dark place that
almost looks like a dungeon, because
when you think aboutflying in combat, it's
an ominous thing. I deliberately kept the

cutting slow and the sound effects real
deep and thick in that section. I wanted
the spot to feel ominous, but then become
a wonderful, very exhilarating experi¬
ence."
All of the exteriors for "Doc"
were

shot

using Kodak's low speed 5247

film, while the interiors were shot using
5296 so Murray could create two distinct
looks. "The inside look had all that blue

edge light, where things are dark with
deep shadows," Murray says, "while
outside there was a bright light ambience
with that warm color of the sky. The
composite cockpit work was all shot us¬
ing Kodak's high speed blue screen film,
5297.1 used 5296, one of the high speed
tungsten films, for the interiors, which is
the stock I use all the time. I love the look
of that high speed negative inside - I

like the way the blues come out on it.
When I use an HMI to put that hard-edged

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backlight on someone and I shoot with
that stock, something cool happens - I
don't know what it is, but the way it burns
across their skin, actually overexposing
part of it 5 or 6 stops-to me it still holds
up. Even though it's a high speed film, it
doesn't always get grainy enough for me,
so I'll push it a stop just to get a little more
of an edge out of it. If I rate it at 1000 and
tell the lab to push it, I tend to get a little
more

grain, but it's real hard to make it

look nasty.
"When I first started

shooting,"
Murray smiles, "it was all very controlled.
I tried to make sure everything was lit to
within an eight stop range. It all looked
real nice, but it lacked guts. Now I find I'm
looking for one shot to be three stops
underexposed and another to be eight
stops overexposed just to give them that
real out of control look
the way life is.
But even though it looks out of control, I
-

want to be able to control that

-

I don't

let it happen by accident. I once heard Bill
Fraker say that he liked to photograph
way people remember them,
and I think that's a great idea. That's what
a cameraman's job is, and that's what I

things the

hope I've done with these commercials."

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87
American Cinematographer - November 1990

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