American Cinematographer - July 1992 - 65
thing I knew much about. All I
know is that in anamorphic there
isn't such a thing as a closeup. A
hundred people are in the back¬
ground of a closeup. But I said
'Okay, it's his department.'"
If the action of the baseball
game
presented
a
challenge to the
"It was also very dif¬
ficult for Penny and for the actors
camera
crews,
because they have to play baseball
and act and look real," Ondricek
said. "You must trust Madonna to
hit the ball, Geena Davis to slide. It
is difficult to play this game and
also stay in character."
To cope with the added
pressure of making the game and
the story both work, Marshall said
she had to "shoot long," adding,
"Miric always gives you coverage,
you can then make the final de¬
cisions in the editing room. I like
someone who will give me those
choices. The editors weren't so
so
happy; there
through.
was a
Ronford-Baker:
You know their legs
are great
So
how about the smooth
fluid heads?
What you're not used
to might work better
Xeople are more familiar with
the legs. But aren't the heads
worth checking out? You might
find they do a better job, too.
Ronford-Baker makes alu¬
minum tripods in three weights
and fluid heads in six sizes.
Plus all the usual accessories
lot to wade
"It's easy for a writer to say
'she hits to left field,' but we actu¬
ally have to get the girl to hit to left
field," Marshall points out. "What
really happens is a grounder, or a
pop-up, or 'Oops, she missed that
one
altogether.'"
The only disagreement
Marshall remembers having with
her cinematographer was when she
and
adapters. An ARRI bal¬
plate. Two sizes of quickrelease plate.
ance
The head shown here is the
Fluid 7. Seven steps of fluid
drag control, three platform
widths with spacer blocks, var¬
ious risers. 150mm or Mitchell
base. Works with cameras up
to about 80 lbs.
needed a slide into third base and
Ondricek wanted to do it at first
base. "I said, /You don't slide into
first.' He said, Wy not?' And I said
'It's a rule: no one slides into first.'
'Veil vy can't ve do same thing over
here same vay?' I said 'No, no, no,
just can't do that.' He eventually
in and said, 'Okay, but the
light is better over here.'"
Before shooting could be¬
gin, Ondricek faced the difficult
task of finding locations. "We
we
gave
needed a stadium that had the feel
of a 1943 baseball stadium, one that
would allow the camera to see a
clear 360 degrees, not picking up
anything in the way of modern
buildings or any kind of other
structure which could not easily be
camouflaged," he said.
While searching through
the Midwest, the
scouting
crew
Isaia^
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Fax: (818) 222-7405. Toll
free: (800) 5-CAMERA
American Cinematographer - July 1992
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American Cinematographer - July 1992 - 1
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