American Cinematographer - March 1995 - 71

tower.

But let it not be said that
those few effects sequences lack
ambition: the opening shot of the
film
which begins on the Uni¬
versal logo, passes through a
-

starfield, then drops down to re¬
veal the WBN radio station

lasts

a

-

full minute and involved

a

painting, a large-scale min¬
iature and a live-action plate.
"That shot was tough because it
matte

lengthy," Kennedy recalls.
as
long as the Gump
feather shot, but on our budget
and timetable it was pretty chal¬
lenging. As the Universal logo
wiped off, we match-dissolved
through to our replication and
was

"It's not

extension of the Universal

starfield, which

was a

matte

painting that the 'camera' then
began to move on. Over that, we
composited a shot panning down
to the spire of our forced-perspec¬
tive model of the radio station,
a Star Wars hom¬

which becomes

THE SOURCE
IN THE PACIFIC NORTHWEST

Aaton Arriflex Moviecam Swiss Jib Tyler

age as the point of the radio
tower breaks frame like the first
shot of the Star Destroyer. The
division between the massive-

looking miniature and the liveaction plate of crowds waiting to
get into the station is the under¬
side of the portico over the front
entrance."

Though the plate was not
shot with motion control, the ra¬
dio station miniature was. The

dynamic move on the WBN
building model, reminiscent of
the Capitol Records building
combined with a 1939 World's
Fair look, was achieved by a dar¬

ing mix of scale: the tower at the
top of the building was Ve scale
while the portico was V24 scale.
"It's something we wouldn't nor¬
mally see in the physical world,"
Kennedy concedes, "but in de¬
signing the shot, we had the free¬
dom to build

a

foamcore model

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known center located

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For

more

Write

or

than 20 years,

call for

our

1995

course

right look. The pro¬

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American Cinematographer - March 1995

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