American Cinematographer - January 1993 - 61

setting up for 360 degrees, be¬
it's not possible for me to
work shot by shot. I like to see all
mg,

cause

the different possibilities for the
lighting. Every director I work with
loves the possibilities I give for
shooting all directions, because it's
impossible to pre-think lighting
before you get into the studio and
set up."

LEE Filters

Panavision is Di Palma's
favorite camera. He prefers the sys¬
tem "because Panavision will ac¬
commodate me. They always give
me the best camera and
special
lenses." Di Palma is particularly
fond of the zoom lens. "Before

Woody hired me, he didn't use the
lens, because many camera¬
don't like them. I don't know

zoom
men

why,"
zoom

says

Di Palma. He likes the

"not because it allows

me

to

advance

immediately, but for the
compositional possibilities it offers.
With the zoom, I have the lenses all

ready." Antonioni praised Di
Palma for his use of the zoom. "The
25-250

zoom brought much more
quality and made the picture more
beautiful. When you change the
lens, you change the quality," Di

Palma notes.
But

on

Husbands

and

Wives, Di Palma kept the handheld
camera in constant motion, so a

CHILES CAMERA

unnecessary. "When we
went over the script, Woody told
me he wanted the camera to have
a lot of freedom, a life of its own,"
he explains. The camera swerves,
zoom was

Support Systems
*

Can be used
*

straight and curved track.
enough to fit thru most standard
doorways.

Narrow

spins, then pushes forward, re¬
sponding to the characters' agita¬
tion, fear or uncertainty. "The cam¬
era is one of the actors," says Di

*

Pneumatic tires
*

or
*

trackwheels.

Carpeted Platform for low
*

*

*

nervous

Weight 60 lbs.
Carrying capacity 300 lbs.
Platform size
27

enough. My motions were quite
arbitrary."
Even though Di Palma
ment

standard.

maintenance

interprets emotions." Steadicam
shots would have been inappropri¬
ate "because Steadicam gives a

found the constant

are

Can be fitted with hard rubber wheels

Palma. "It is human. There is a sym¬
biotic relationship between the ac¬
tors and the camera; the camera

smooth look. It isn't

on

*

x

44 inches.

Complete line of Accessories
available.

camera move¬

difficult, he liked the effect.

"Woody and I chose this camera
style for this movie because the
look was very important. Husbands
and Wives is

a

drama, but there's

JOHN CHILES
Phone:

*

(904) 764-5281

Canadian

7622 Main St
*

* Jacksonville, FL
(800) 255-2678 * Fax: (904) 764-0862

Representative * Cinequip Inc. 10 Banigan Drive
* Toronto, CA M4H 1E9
(416) 467-7700 * Fax: (416) 467-7716

Thorncliffe Park
Phone:

59



American Cinematographer - January 1993

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

American Cinematographer - January 1993 - 1
American Cinematographer - January 1993 - 2
American Cinematographer - January 1993 - 3
American Cinematographer - January 1993 - 4
American Cinematographer - January 1993 - 5
American Cinematographer - January 1993 - 6
American Cinematographer - January 1993 - 7
American Cinematographer - January 1993 - 8
American Cinematographer - January 1993 - 9
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American Cinematographer - January 1993 - 20
American Cinematographer - January 1993 - 21
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American Cinematographer - January 1993 - 28
American Cinematographer - January 1993 - 29
American Cinematographer - January 1993 - 30
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American Cinematographer - January 1993 - 45
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American Cinematographer - January 1993 - 49
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American Cinematographer - January 1993 - 51
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American Cinematographer - January 1993 - 55
American Cinematographer - January 1993 - 56
American Cinematographer - January 1993 - 57
American Cinematographer - January 1993 - 58
American Cinematographer - January 1993 - 59
American Cinematographer - January 1993 - 60
American Cinematographer - January 1993 - 61
American Cinematographer - January 1993 - 62
American Cinematographer - January 1993 - 63
American Cinematographer - January 1993 - 64
American Cinematographer - January 1993 - 65
American Cinematographer - January 1993 - 66
American Cinematographer - January 1993 - 67
American Cinematographer - January 1993 - 68
American Cinematographer - January 1993 - 69
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American Cinematographer - January 1993 - 73
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American Cinematographer - January 1993 - 77
American Cinematographer - January 1993 - 78
American Cinematographer - January 1993 - 79
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American Cinematographer - January 1993 - 82
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American Cinematographer - January 1993 - 84
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