American Cinematographer - October 1968 - 101

"THOMAS CROWN AFFAIR"

SOUND FOR YOUR BOLEX!

Continued from Poge 787

the fog filters enhanced. The filter also
added a bit of dust to the air, accen¬
tuating the shafts of light to produce
the illusion of a very hot day.
QUESTION:

But

what

did

the

filter do to the foreground

fog

subject

matter inside the room?
WEXLER:

It

had

a

slight

softening

NEW

effect, of course-but this worked in
our favor. We wanted our leading lady

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to look good and the filter acted as
a flattering kind of diffusion. The fog
effect of a

filter usually looks

more

intense to your eye than it does on
the screen. For example, I have some

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of the old Scheibe fog filters and when
I take them out of the case my assist¬
ant tears his hair, because when you
look

through

them

it's

like

looking

through a snowstorm-but the scenes
made with them look just fine on the
screen.

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Well,

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I did

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WEXLER:

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QUESTION: Are these the filters you

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make one take with the Scheibe, but
everyone was telling me how I might

AMEf^CAN \/
MATOGRAPHE
MANUAL
/

ruin the scene. It was close to the last
day of shooting and there would be
no time for retakes, so I also made a
take using a less drastic Harrison fog
filter. Personally, I liked the one made

SECOND EDITION

with the Scheibe better. Anyway, as a
tip to other cameramen I'd say: If you

Compiled & Edited

have

JOSEPH V. MASCELLI,

a

backing

that doesn't please

you, err on the side of over-exposure,
rather than under-exposure.

630
pa&eS

by
A.S.C.

ARTHUR MILLER, A.S.C.
Associate Editor

QUESTION: Do you have any other
tips for getting more realistic results
when shooting in the studio?
WEXLER:

I'd say the best way is to

evaluate a studio set as if it were a

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real location. If you discipline yourself
in the studio the way you have to on
location, you can work a lot faster and
light more honestly. Always remember,
for example, that there are four walls
to

a

room-so

don't just

arbitrarily

take out a wall or locate a light source
where, in a real room, it would be im¬
possible. In studio lighting you can do
too

many

things-so,

consequently,

there is always the danger of using
too
easy

much top back-light.
way

of

separating

This is the
something

from the background. In lighting a real

AMERICAN CINEMATOGRAPHER, OCTOBER 1968

More than 600 pocket-size pages of
concise, practical, informative text,
tables, charts, diagrams, drawings
and listings of all the latest produc¬
tion equipment and filming tech¬
niques in use today!
Key word printed on the edge of
every right-handed page provides
INSTANT INDEX for quickly locating
desired data!

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793
American Cinematographer - October 1968

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