American Cinematographer - February 1984 - 80

ANIMATION CAMERA STANDS

THREE SIZES

programming was complete. Traveling
at the system's maximum speed of
three inches per second, the fragile
pitching lens would have been rammed
into

a

section of the

set

but for the

quick reactions of Mosier, who quickly
disconnected the mechanical gantry
from the computers. No damage was
done.
The desert set was lighted
with 45 juniors, 22 seniors and 27
chicken coop lighting units. The sky

animation camera
stands
for

8-16-35mm^
electronic
video
and all

vmm

cyclorama which surrounded the set re¬
quired some 350 1000-watt strip lights
and additional overhead strip lights. A
Condor crane was used by grips and
electricians to gain access to the light

copy cameras
For

professional

animation, for
tilting and for

units.

filmstrips.
Write
us

or

Machine-made fog was used
simulate underwater effects in the
ocean set. Sticks topped with arrows

to

phone

to fill your

were placed in the set to indicate posi¬
tions of invisible wires used in moving
underwater props and were removed

equipment and
supply needs.

x

company

374 S. Fair Oaks Ave., Pasadena,

PAPER

-

CELS

-

just prior to shooting. A submarine
which glides through the scene was

Calif. 91105

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FIELD CHARTS

-

moved on a solid brace which was
hidden from view by the position of the

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ship in relation to the camera. A dock¬
ing bay model contained miniature peo¬
ple about three inches tall.
Extreme heat during the sum¬
mer months in the hangar caused the
sets to expand and contract slightly,
making programming even more critical.
With the crew carefully rehearsing each
phase of the shoot, and multiple takes,
the scenes eventually were ready for
inclusion into the Horizons pavilion.
The

third

sequence

-

"Space" - was filmed on Stage 3 at
the Disney Studios by Phil Meador,
using the ACES camera system the Dis¬
ney engineers developed for The Black
Hole. Multiple elements were shot sep¬
arately and the asteroids and space
ships were composited optically.
The Space Colony model was
an eight-foot sphere, lighted by more
than 8,000 miniature practical lights. A
19mm Kowa lens was used to photo¬
graph the interior of the model, in which
three zip lights, diffused to eliminate
multiple shadows, provided 20 foot can¬
dles of light. It was shot in one second
exposures at f.11.
These unique photographic
effects made

possible the realization of

Horizons, a visual extravaganza to be
viewed by millions.
■
American Cinematographer - February 1984

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