American Cinematographer - March 1995 - 28
Matthews
Workers put the
finishing touches
I came up with
the gantry mo¬
didn't have to do anything to ex¬
tend the landscape. We just liter¬
Mercury.
tlf' Beck
ally put the miniature gantries up
around the car, set up our angles
and shot. The only things we
saYs-
"We looked at
quite a bit of Cape Canaveral
footage and architectural build¬
ing technology. We didn't want
to waft into some science-fiction
netherworld;
we
wanted the gan¬
tries to look like
Dintenfass shot the car against
blue sky. "We had to shoot all
influence
amount
was
mixed with
a
refin¬
atmosphere and smoke."
Building the miniature
gantries that surrounded the
Ford was accomplished in a mat¬
ter of weeks. Of the four steel
only the one closest to
completely dressed.
The rest were lightly dressed and
kept in the background. "Natu¬
rally, we used the detailed one for
any insert shots of the lights com¬
ing on," Beck explains. "Since
they were all interchangeable and
towers,
camera was
all rode
tracks,
on
we
their
could
own
individual
move
the
fully
of the
with all of those gan¬
car
tries and
equipment around, but
going in. We told
the agency that they had to accept
that the gantry and lights were
sitting right next to the car, and
therefore were naturally going to
reflect, and they didn't worry
we
knew that
about it. As we shot all of our
basic moves around the car, we
just made
sure the things we
didn't want to see were blacked
out."
effects hardware, motorized gan¬
tries and the like, Beck and
Dintenfass viewed the produc¬
the
philosophy
gantries, the Ford and their
on
the road to Santa
Despite the amount of
tion
as a
practical shoot. "Our
was that it would be
nice to get as
much
Rosa, where
camera, so we
days at
elements to
an
they shot for four
old northern Califor¬
nia
airstrip. "It wasn't being used
going in ev¬
ery direction," Beck relates, "so it
and it had runways
gave us
FOR FREE CATALOG!
no
through the day just to get the
of work accomplished,"
Beck explains. "Sure it was hard
to get a great outdoor
beauty shot
dressed tower to any corner of
the car so it would be closest to
camera for the
angle we wanted
to shoot."
Beck and company took
equipment
Matthews... there is
landscape."
Cinematographer Andy
something
people have seen before, so the
space shuttle and Cape Canaveral
ery
26
didn't screw around with at all in
the spot were the car and the
substitute for quality
March 1995
lots of
open space.
We
as we
tried to
could in
keep
our
minimum," Beck
says. "We did no motion control
a
on location at all. There were
motorized miniature cranes, but
none
of it
required repeatable
American Cinematographer - March 1995
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