American Cinematographer - January 1993 - 49

takes, so there was little room for er¬
ror."

The

crew

found that the

multiple-camera approach was not
without difficulties, however. "The
hard thing about two cameras, of

is that you do compromise
everything," di Santo concedes.
"When you're going for the cover¬
age and the speed, the lighting suf¬
fers. It's not immediately obvious
course,

that two

time,

cameras

take

more

LEE Filters

setup

blocking. You have to
get focus marks for two cameras,
and set the angle for two cameras,
and the eyeline for two cameras.
With all of this on a tight schedule,
sometimes it's pretty rough."
Did the approach work?
"There's no doubt that we got a lot
of coverage for the movie that it
more

A Weaver /Steadman Head

makes most difficult shots

by balancing the

easy

camera.

was," di Santo reflects. "Consider¬

ing the schedule, it worked quite

The

well. Without the two focus pullers
on for the entire shoot, we never
would have been able to shoot ev¬

new

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erything." The cinematographer
crew with
making it

1646 20th Street

credits her
work. Her

ond

compatriots

camera

W/S Model "B"

Santa Monica CA 90404

were sec¬

Phone: 310/829-3296
Fax: 310/828-5935

operator Beth-Jana

Friedberg, gaffer Gordon Minard
(who also photographed several
second-unit scenes), and first assis¬
tants Richard Rutkowski (A-cam-

The

era), and Lee Dublin (B-camera).
Di Santo had

used

previously

Agfa stocks

on several com¬
mercial shoots. For Young Goodman

Brown, she conducted some limited
tests with

*r Lighting
I

Agfa and Fuji products.

The

"The day we had to decide whether

going to shoot Fuji or
Agfa," she recalls, "I picked up
American Cinematographer and
started reading an article about a di¬
rector of photography [Bernard
we were

Salzman, Jan. '91 issue] who

Wildcard

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"Two Models:

K

was

Joker 200
Joker 400

of the first people in the States
to both shoot and print on Agfa
stock. It was intriguing, so I found
as much information as I could, did
one

some more

testing, and that's what

ended up doing. Like Salzman,
I found that using the Agfa print
stock eliminated the magenta skin

O CJJI

we

tones, and rendered
tic skin quality."

a more

realis¬

She adds that experience is
an

important factor in choosing

stock. "I think

a

a
lot of it is what

K 560

OO ?
In

Europe:

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11 Rue

North

Fresnel

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Tel: (818) 759.0077
Fax: (818) 759.0326

Beauregard

- Guerville
78930 - France
Tel: (33) -1- 30.42.34.32

Fax:

(33)-1- 30.42.33.29



American Cinematographer - January 1993

Table of Contents for the Digital Edition of American Cinematographer - January 1993

American Cinematographer - January 1993 - 1
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American Cinematographer - January 1993 - 100
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