American Cinematographer - July 1983 - 93

t-and

we

UNDERWATER
PHOTOGRAPHY

got the set half way

dressed for that

big shot and that's

when the record storm hit.

AL GIDDINGS

"The set sat up there for over a
week! We had to pay a policeman and
nave one of our guys up there trying
to

Production

keep things together. The crane
part of the set got

shorted out and

olown around and knocked down.

"That's the only problem with
shooting outdoors. But it looks good
when you get it," Warren concluded
philosophically.
Animation effects were added to 35

by Ernest D. Farino and Bret
Mixon of Kinetic Image. These were
somposited optically by Mike Warren
of Image 3. Most of the animation
work depicts laser beams. Several
scenes

Emmy for
Cinematography

Directing
Filming
Stunts/Doubles

James Bond
For Your Eyes

Props/Post Prod.

The

Panavision

*

35mm * 16mm

Exciting/beautiful

Only

Deep
Equipment

undersea footage

and stills for sale.

OCEAN IMAGES
6853

Buckingham Bl.
Berkeley, CA 94705
(415) 548-2110

f

Over 300,000 feet and 30,000 trans¬

parencies of whales, sharks, dolphins,

if

wrecks, coral reefs, kelp, much more.

shots utilize animation to simulate

computer readouts in the console of a
space ship. The computer graphics

designed by Lee Cole.
"Putting laser beams into a 3-D pic¬
ture isn't nearly so simple as dealing
with flat images," Farino explained.
'It's tricky. Each beam requires two
separate drawings properly related to
the right and left eye images. All of
these were shot on high contrast film
and the glow effect was added by dif¬
fusing the hard image when it was
oomposited."
The preparation time was very
short and the shooting time was even
were

shorter. Warren said that the crew

four weeks of preoroduction time and about three and
lad about three
a

or

half months of

around

shooting time for
eighty shots.

With so little time the order of the

day was often to fly by the seat of
one's britches. Problems would come

jp,

and as special effects art director

Mike Minor said, "We

often had to

work around the 3-D. You

might say
spite of 3-D."
Warren's major regret on the film is
:hat he did not have more time for
:esting and research and develop¬
ment. He thinks that the extra time
would have improved the quality and
the overall look of the picture. There
ust was not the time for fine tuning.
Leslie Huntley, one of three part¬
ners in Fantasy II, said that even with
the problems everyone had a good
time. "But, I will always remember
we

did this film in

the rain."
Continued

■

from

page

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Wintertime Tale

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Working for Peanuts

1962
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Ziegfeld Midnight Frolic

1929

Zowie

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MVIERICAN CINEMATOGRAPHER, JULY, 1983

PROJECTORS
91
American Cinematographer - July 1983

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