American Cinematographer - July 1983 - 95

?tly used for additional photography
after the ArriVision system was
1 opted.)
Contner indicates there is no "perict" system, but that each has
rengths and weaknesses. For exnple, the director of photography
;ed StereoVision packaging of each
/en

ns as a

self-contained unit, a tactic

found saved time. "But Arriflex

3

to us at the eleventh hour with a

ime

5w

system which was more suitable
needs.

our

»

"Two ArriVision units were used-

primary unit with interchangeable
of 18, 32, 50, and 85, and a
jcond lens which was only 28mm.
nses

light and more of it. In projection, one
image is laid over another, so the
footlamberts

on

the

screen

are

re¬

duced from the normal 16 to about 8.
When you add viewer glasses into the
equation, images can become very

dark and

murky."

Because of these 3-D constraints,
Contner relied on Eastman color

negative film 5247 for the bulk of the
shooting, using Eastman color high
speed negative film 5293 only for
night work.
"In essence, by taking a full 35mm
frame and cutting it in half for right
and left images, you're shooting at
16mm and blowing up to 35mm," ob¬

Contner. "That's

why I wanted
grain film available-
the 5247 stock-whenever possible.
The amount of opticals we're using
with green screen and video com¬
positing also influenced my choice.
"In addition to using more light, I
was very conservative in rating the
film," he adds. "Normally, I use El 100
serves

to use the finest

for 5247, but on this film I rated it at El
64 as Kodak does, using a Wratten
85 filter. When in doubt, I leaned to¬
ward overexposure. For instance, if
there was a choice between shadow
and full sun, I gave

the shadow more
and let the sunlight portions
slightly overexpose. Here, the latitude

exposure

the underwater shooting, we priarily used the 18mm. To change
nses, though, required about five or
x adjustments," says Contner. "You
ad to slide in a diopter, and change
ant optics, convergence knob, scale
Dr

that lens, focus scale, and the

ir

asking system to get the proper
ard matte lines for the individual

ns," he recalls.
Since this limited Contner to one

it was impossible to break off for

dx,

second unit

shooting, he says. Conpredicts future ArriVision sys;ms will feature complete lens
ackages. He also says the ArriVision
astern had many strengths.
"The single-box system is nice in
at all optics fit in one case so it's
ler

portable," says Contner. "And

ary

e were

able to

use a

T-2.3 lens for

ghtwork."
"We selected ArriVision for

efficacy
subjectively, we felt it
fered a brighter, sharper image with
more color saturation," says Hitzig.
id because,

Contner notes that 3-D poses a
jmber of

cinematography chalregardless of system. "One is
antrast," he says. "Blacks go very
ack and lighting ratios must be narnges

:

2-D, due to the number
prisms which aren't as
conventional lenses. Not only

than in

>wer

mirrors and

Dod
d

as

shadow areas need more

du

light, but
placing

have to be careful about

objects against light ones and
High contrast can cause
losting or color fringing. With Lou
ossett, a black man playing a lead,
e had to be very careful about
ackground.
"We found out very early that on
/ercast days, color doesn't pop as it
ark

ce versa.

with

oes

That's
nses

hile
Dft

2-D,"

Contner adds.
optics in 3-D

because the

everything. So,
operators usually love

tend to mute

camera

sky light, we wanted harsh, direct

riERICAN CINEMATOGRAPHER,

JULY, 1983

93
American Cinematographer - July 1983

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