American Cinematographer - May 1992 - 79

by Brooke Comer
What's

happening in New York and
along the East Coast...

normal footage. First Edition editor Randy
Elowite distressed the footage for a vintage

In the AUDIO POST domain,
Editel New York (expect a name change
when owner Banta Publishing sells its NY,

look by gluing potting soil to the film with
Mylar tape. Elowite also edited the project
on an Avid. ♦ Avid Technology recently

Chicago, and LA facilities this year)

announced its 500th installation of an Avid
Media Composer at NBC's edit facilities for

came

to the rescue for first-time filmmakers DOS

Productions of Danbury, Connecticut. DOS
director Mike Delfay and writer/producer

Dana Smith had lost 12 minutes of on-location audio from their two-hour feature
Maxine. Their sound

Carbone,

was

supervisor, Nick

snubbed by most facilities

Saturday Night Live. ♦ Howard
Recording's audio engineer
Roy B. Yokenson completed audio post on
"Ray Charles: The Genius of Soul," which
aired on PBS as part of the Masters of
Schwartz

American Music Series. Yokenson

re¬

until he found Editel. The sync sound was
created on the spot without a guide track,
and Post Pro helped cut takes together and
do digital slides. ♦ Sound One has its
rooms full with Imagine Films' FarandAway

synced the original elements, and added
sound effects using the SSL 6000G, Sony
3348 Digital Multitrack, Adam Smith 2600
Synchronizers, and a Burwen 1000 Dy¬

starring Tom Cruise and Nicole Kidman. The
Ron Howard-directed project is doing Foley
work, looping dialogue and ADR in an ef¬
fort to ensure that the audio is as pristine
as the 70mm picture. Supervising ADR edi¬
tor Michael Jacobi says the project has

department, Paramount Pictures' Boomer¬
ang, directed by Reggie Hudlin and photo¬
graphed by Woody Omens, ASC, required
the talents of Mark Yurkiw & Company
The leading model-making company
worked with Boomerang art director Bill
Barkley, assistant Robert Shaw, and pro¬
duction designer Jane Muskie to design a

"more ADR work I've ever seen on a fea¬
ture." Watch AC's June issue for a full ac¬
count. ♦ Reel World Music arranged an
orchestral composition for the CBS Winter

Olympics. CBS Sports called principals Bob
Christianson and Craig Bishop to arrange
and produce the theme. The project re¬
quired four packages, all of which were
mixed to DAT and two-track analog on a
Harrison Raven console with ARMS II au¬
tomation. Additional orchestral instruments
were

with

generated by the WaveFrame 1000,
Synth Sweetening from an array of

namic Noise Filter. ♦ In the FEATURES

futuristic chariot from which star Grace
Jones emerges. ♦ Universal's Scent of a

Woman, directed by Martin Brest, photo¬

graphed by Mikael Salomon, ASC and
starring Al Pacino, used extensive New York
locations, including the Pierre and the Plaza
hotels. On top of a location fee, Plaza owner
Donald Trump requested a cameo in the film
in exchange for use of his property. Dave
Knox doubled

as

Steadicam/B

camera op¬

erator on the two-camera Panavision shoot.

Warner Brothers' Innocent Blood is

M1 -R, D550 and Wave Station Rackmounts

♦

at Great

shooting in Pittsburgh. The vampire movie
is being shot by Mac Ahlberg on a
Panavision system and directed by John

Immediately Recording ♦

Sutcliffe Music scored a Steve Horn-di¬
rected Jaguar spot for Geer DuBois Ad¬

vertising, using a scratchy big-band record
playing on a Victrola. Composer/arranger
Joe Hudson recreated the mood of the AOs

using live jazz stars like trumpeter Randy
Brecker; as the new Jaguar XJS appears
onscreen, the music shifts to a more con¬
temporary sound. Horn, the "Woody Allen
of commercials," shot old Jaguars at varied

speeds, then integrated the shots with

Landis

♦

In TELEVISION land, MTV

stays on the cutting edge thanks to New
York's abundance of underground artists,

according to Julia Pistor, VP of Production
and Development at Viacom New York,
MTV's parent company. Pistor calls New
York "the most accommodating film city in
America, full of creative potential." When
Paul Holahan, with director John Payson,

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May 1992

TO

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American Cinematographer - May 1992

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