American Cinematographer - February 1995 - 34
Pest Production
made
Easier
Cheaper
faster
couldn't
you
the source
of the light."
With a color
see
temperature of
A look at the spec
sheet for a special
camera rig (seen at
right) used to
achieve moving
shots down the
5500
degrees aisle of a bus.
Kelvin, the daylight-balanced light looked blue, an
effect McPherson and Geddes pur¬
posely sought for atmosphere.
"Tire film stock we used is balanced for
tungsten light (3200 degrees Kelvin),"
explains Geddes. "When you expose
tungsten film to daylight or daylightbalanced lamps, it records it as blue.
Cast members told me the lighting ef¬
fect facilitated their performances by
setting the mood."
While the Xenon
was on
full power
Fatliei lime ami liis I iiiinv Ax.nil >Viniiins
TS-1 Time Ctule Slale
for the long shots, a neu¬
tral-density gel had to be placed in
front of the lamp for the tighter
shots. Otherwise, the light was too
overpowering.
Effects like those used in
the fan
DenecKe, Inc*
scene
helped give Incident at
Deception Ridge a big-screen look
and feel, as did the 40-foot crane
shots, the
Manufacturers cf
time cede eciiiipment
fer film, videc,
and recording
studies
use
of
a
a
Instead of
Call cr write fer cur
new,
ccmnlete
catalcgue and the
dealer nearest yen
t
i I / I
Calmeima Ulvcl
N Hollysvood, CA
31601 USA
equipment at his disposal. "The big
sticking to
difference between features and
a
reverses, as most
television movies do, McPherson
TV movie like Incident at
designed complicated moving
shots which took advantage of the
made the time. We
camera's
carefully planned scheduling and
fluidity. "John designs
choreographs the shots
so the
master also becomes your cover¬
age," says Geddes. "Everything
basically takes place in
(SIS) 766-3525 (SC€) sec-3.52.5
32
pass
them and follow
close-ups and
and
Penecke, luc.
they
by, then rotate on
as
they turn away.
It's all one shot. Choreographed
properly, you can do an entire
scene this
way."
as
styl¬
conscious decision to
a
crane
feature.
equipment, McPherson and Geddes
made
show the whole location, then
down as people walk toward
the camera; you pick up coverage
to
Asked what he considered
the biggest challenge on the shoot,
McPherson laughs: "Just being able
to breath going up those moun¬
tains." For Geddes, it was finding
the time to use all the wonderful
Hot Head and
the daily use of the Steadicam.
In addition to the liberal use of
such high-cost, time-intensive
ize and shoot the film like
maybe two, but the camera is al¬
moving. For example, on a
crane shot
you set up the shot wide
ways
February 1995
one
shot,
Deception
Ridge is time," says Geddes. "We
ergy
put a lot of en¬
into production values, and
locations
the
so we
could not
only have
toys, but have the time to use
them."
American Cinematographer - February 1995
Table of Contents for the Digital Edition of American Cinematographer - February 1995
American Cinematographer - February 1995 - 1
American Cinematographer - February 1995 - 2
American Cinematographer - February 1995 - 3
American Cinematographer - February 1995 - 4
American Cinematographer - February 1995 - 5
American Cinematographer - February 1995 - 6
American Cinematographer - February 1995 - 7
American Cinematographer - February 1995 - 8
American Cinematographer - February 1995 - 9
American Cinematographer - February 1995 - 10
American Cinematographer - February 1995 - 11
American Cinematographer - February 1995 - 12
American Cinematographer - February 1995 - 13
American Cinematographer - February 1995 - 14
American Cinematographer - February 1995 - 15
American Cinematographer - February 1995 - 16
American Cinematographer - February 1995 - 17
American Cinematographer - February 1995 - 18
American Cinematographer - February 1995 - 19
American Cinematographer - February 1995 - 20
American Cinematographer - February 1995 - 21
American Cinematographer - February 1995 - 22
American Cinematographer - February 1995 - 23
American Cinematographer - February 1995 - 24
American Cinematographer - February 1995 - 25
American Cinematographer - February 1995 - 26
American Cinematographer - February 1995 - 27
American Cinematographer - February 1995 - 28
American Cinematographer - February 1995 - 29
American Cinematographer - February 1995 - 30
American Cinematographer - February 1995 - 31
American Cinematographer - February 1995 - 32
American Cinematographer - February 1995 - 33
American Cinematographer - February 1995 - 34
American Cinematographer - February 1995 - 35
American Cinematographer - February 1995 - 36
American Cinematographer - February 1995 - 37
American Cinematographer - February 1995 - 38
American Cinematographer - February 1995 - 39
American Cinematographer - February 1995 - 40
American Cinematographer - February 1995 - 41
American Cinematographer - February 1995 - 42
American Cinematographer - February 1995 - 43
American Cinematographer - February 1995 - 44
American Cinematographer - February 1995 - 45
American Cinematographer - February 1995 - 46
American Cinematographer - February 1995 - 47
American Cinematographer - February 1995 - 48
American Cinematographer - February 1995 - 49
American Cinematographer - February 1995 - 50
American Cinematographer - February 1995 - 51
American Cinematographer - February 1995 - 52
American Cinematographer - February 1995 - 53
American Cinematographer - February 1995 - 54
American Cinematographer - February 1995 - 55
American Cinematographer - February 1995 - 56
American Cinematographer - February 1995 - 57
American Cinematographer - February 1995 - 58
American Cinematographer - February 1995 - 59
American Cinematographer - February 1995 - 60
American Cinematographer - February 1995 - 61
American Cinematographer - February 1995 - 62
American Cinematographer - February 1995 - 63
American Cinematographer - February 1995 - 64
American Cinematographer - February 1995 - 65
American Cinematographer - February 1995 - 66
American Cinematographer - February 1995 - 67
American Cinematographer - February 1995 - 68
American Cinematographer - February 1995 - 69
American Cinematographer - February 1995 - 70
American Cinematographer - February 1995 - 71
American Cinematographer - February 1995 - 72
American Cinematographer - February 1995 - 73
American Cinematographer - February 1995 - 74
American Cinematographer - February 1995 - 75
American Cinematographer - February 1995 - 76
American Cinematographer - February 1995 - 77
American Cinematographer - February 1995 - 78
American Cinematographer - February 1995 - 79
American Cinematographer - February 1995 - 80
American Cinematographer - February 1995 - 81
American Cinematographer - February 1995 - 82
American Cinematographer - February 1995 - 83
American Cinematographer - February 1995 - 84
American Cinematographer - February 1995 - 85
American Cinematographer - February 1995 - 86
American Cinematographer - February 1995 - 87
American Cinematographer - February 1995 - 88
American Cinematographer - February 1995 - 89
American Cinematographer - February 1995 - 90
American Cinematographer - February 1995 - 91
American Cinematographer - February 1995 - 92
American Cinematographer - February 1995 - 93
American Cinematographer - February 1995 - 94
American Cinematographer - February 1995 - 95
American Cinematographer - February 1995 - 96
American Cinematographer - February 1995 - 97
American Cinematographer - February 1995 - 98
American Cinematographer - February 1995 - 99
American Cinematographer - February 1995 - 100
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