American Cinematographer - September 1983 - 44

multi exposures. However, if the
scene contains moving elements,

final image contains a
kaleidoscope of out of register colors,

e.g., water, the

where the movement
"normal" color where

occurs
no

and

movement

has taken

place. Rather than spend¬
ing a small fortune on professional
glass filters for the Panavision cam¬
era, CITYSCOPE used deep colored
perspex, cut to fit the Panavision
matte box.

Another intriguing technique was a
variation of the combination time ex¬

posure

and zoom effect used

on

still

photography but done, while single
framing and manually panning and
zooming out from lights of Sydney at
night. The result is visually stunning
as "slit-scan" light effects zoom out
of the moving background of the city.
In keeping with his background as a
tape editor, Matt transferred the
35mm workprint to %" umatic videc

cassette, and offline-edited the hour
or so of original rushes down to the
final running time of 17 minutes. It is

interesting to note the difference in
editing between the
two mediums of film and tape. The
video edit including necessary "cre¬
ative" revisions and changes took ap¬
proximately two solid days, while the
the time frame of

film edit which

was

more or

less

a

"positive-matching" of the video cul
took about five days. Had the film edii
entailed "creative" editing, the five
days could have easily stretched tc
ten days. The whole editing process
was aided by meticulous productior
storyboarding which saved ever
more time during shooting anc
editing.

A film of this nature could not have

been

possible without tremendous in¬
dustry support. There must not have
been one equipment rental company
one laboratory, or production house ir
Sydney that didn't receive one of the
infamous visits, to obtair

crews

equipment, processing and stock a
"favorable" rates. The fact that

idea, from

volved in the film
on

ar

not directly in
industry can end up

a person

international

screens as an

excep

tional short

gives hope to all those
who dream of making Eastman color
Panavision Anamorphic films in Dolb}
Sound.
Thanks
Film

are

due to the Australiar

Commission,

J.

Waltei

Thomspon Australia, Samuelson Filrr
Services, John Barry Rentals, Color
film, and Film Australia, for their en

couragement and support of this

project.
42

l

AMERICAN CINEMATOGRAPHER, SEPTEMBER, 198:



American Cinematographer - September 1983

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