American Cinematographer - August 1993 - 63

Yuricich says, "I would recom¬
mend to anyone who's doing a
simulator ride to have the ability to
test their moves."
Another of the Terabyss

challenges was the model itself.
They were shooting dry for wet on
a smoke
stage whose length was
limited to 60', but, as Yamashita

points out, "Simulations, by and
large, are about real estate. I think I
can make this
generalization: the
real estate you have, the far¬
ther you can drag that camera. The
farther you can drag the camera,
the easier it becomes to create this

No matter how many

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the more expensive it is. There is a

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NOTHING HANDLES THE
UPS AND DOWNS OF FIELD PRODUCTION
LIKE MILLER'S NEW LIGHTWEIGHT TRIPODS
with

direct correlation. Out of that

leg angle lock systems

knowledge was bom the concept of
a

modular set that could be

Leg angle lock systems,

rear¬

ranged and reconfigured and shot
over

and over."
Stetson Visual Services

provided Yuricich with seven Vis
scale movable pieces of underwa¬
ter terrain. Then they constructed
some 20 wild spires - eight-foot

turn the dial,

towers of carved foam-that could

take the

be used to connect and reconnect
the various pieces. The sea floor
was dressed a
variety of ways to
maximize the real estate.
Yuricich also decided to

*

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anodised

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alloy or carbon

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have the sets built to a single lens,
and he shot the entire film at the
same

spreader off

*

Compatible with most
75mm/100mm heads

f-stop.
"I knew the

sight lines of

the viewers, the size of the screen
and the focal length of the projec¬

tor," he explains.

"It was the
equivalent of a 16mm lens or a little
wider. We planned to break the
chase up into four little arenas to
photograph, so we would have to
duplicate the focal length each time.
When using the full aperture in 35,
the 18mm Nikon seemed the best

lens, and

was

also very cost effec¬

tive. The architecture and the land¬

scape underwater where the major¬
ity of the film takes place was for¬

giving of any distortion or any nonfocal length imagery matching, so
we

the

could

get away with it.
"Tests revealed that at fl6

images started to fall off at

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Phone:

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MILLER TRIPODS CANADA 1055 Granville Street Vancouver B.C. V6Z 1L4
Phone: (604) 685 5331 Fax: (604) 685 5648
American Cinematographer - August 1993

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