American Cinematographer - February 1995 - 65

ford the transfers to film for the

sequence. Because we were going
to do a film print for a European
theatrical

release,

we

needed to

end up on

film. So we made the
compromise and shot on film. But
because we wanted to screw up the
image 'to the max/ we weren't sure
where to go. Both Jeremy and I

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strange move¬

ment. We ended

up using a simple
technique of printing
a
high-con black & white inter¬
negative and optically printing
both negatives. Giving more expo¬
desaturation

sure

to the black & white element

desaturates the image more. It was
the simple solution that we needed
in order to

impart the emotional
feeling Jeremy and I were looking
for."
Under the general head¬
ing of Style 7, Townsand tells sev¬
eral different tales. Each required a
slightly different treatment visu¬
ally. The details behind the alien
autopsy were photographed in
Style 7A. "There was a great deal of
smoke in the autopsy room, "
Poster recalls. "The KinoFlo bulbs

daylight-balanced and

were

used

an

85C

on

the

camera.

It

we

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heavy double-fog filters on."
Style 7B was used for
Townsand's report of a secret com¬
mittee appointed by the President

with

a

lot of

to address the issue

of extraterres¬

trial contact, which was shot on lo¬
cation in the L.A. County Museum

of Art. "The roundtable discussion

posed several interesting
problems," recalls Poster. "No hot
lights could be used, nothing could
be hung, no bulbs could be
changed, and certainly no smoke
could be used. We only had half a
day to get in and out. On the scout,
Jeremy gave me my choice of two
different galleries. I chose the one
with a big skylight and decided to
use several
free-standing four-bulb
scene

KinoFlos, mixed with the tungsten

lights on the paintings and the day¬
light from the ceiling. The camera
was

mounted

on

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a

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jib arm with
a
rolling head, so we could do our
moving Dutch angles. Because I

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American Cinematographer - February 1995

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