American Cinematographer - April 1984 - 44

Make Your

the

Special Effects

players from the backgrounds.

Putting those hot backlights on
the actors helped a lot, as did the
fact that we decided to go with the
blacks. We had to string those
lights from the ceiling and raise
and lower them for each setup.
"We also used 14mm

lenses, booms, the Louma
Crane
needed

everything that was
fluidity of move¬
ment and a feeling of depth. The
first time you see the Crystal Pal¬
it

ace

with

specifications. Ait Stewart
of one piece construction
and are completely seamless in sizes
up to 40 feet by 90 feet.
''*-I. ?'/'
'
-'V-, '-''v
size and

screens are

-

THE STUDIO PROCESS
SCREEN SERIES

★ STEWART T-MATTE BLUE SCREENREAR ILLUMINATED &
TRANSLUCENT. The workhorse of
the industry in traveling-matte
process photography
★ STEWART HI-TRANS. Combines live
action foreground with rear

projected background.
★ STEWART LUMIFLEX. Neutral white,
translucent diffusing screen used
for white matte photography,
diffusion of light source for blue
screens and cycloramas.
★ FRONT PROJECTION PROCESS. 3M
7610 SCOTCHLITE applied to

flexible

backing for front projected
backgrounds utilizing beamsplitter
techniques.
★ STEWART A-T FRAMES. Completely
free-standing, self-supporting,
clear-span frames to suspend any
of the above screens. When
ordered with optional casters,
screen and frame can be rolled
around sound stage floor as one

complete unit for easy storage.
For the past 37 years, Stewart Film
Screen has been proudly producing
State of the Art screens to meet every
facet of the needs of the Motion
Picture

Industry.

From the sound stage, to the daily
viewing room, to the neighborhood
theater, we offer a complete line of
projection screens and accessories
that can fulfill all your production
requirements.
For

samples and literature, write:

-

to ensure

shot

was

Sepulveda Blvd.
Torrance, CA 90502
Phone:

(213) 326-1422

boom and

shadow and black you get away
with it."
Fraker also made capital
use of the principle of using strong

light and dark
the

screens

tographed
of their

-

contrasts to make
which actually pho¬

as a

dark

gray

because

sensitivity to
black. He had a
slender neon tube placed around
each screen. "It was very bright
and therefore the thing next to it

light

-

extreme

appear

looked like it

was

black,

though it wasn't. It

even

was

an

illusion."
Such were some of the
headaches of putting the Crystal
Palace on film. "We were on that
set for 25 days, 12 hours a day,"
Fraker said.
Most of the other set¬

tings

were

photographed

to appear
Norman Rock¬

"normal" as a
well cover painting.

as

This is not as
sound; the illusion
of reality on film, as on canvas, is
usually more difficult to capture
than something flashily dramatic.
There is one luridly exciting se¬
quence which vies with those
filmed in the Crystal Palace for
dramatic impact. It depicts the
two fleeing youngsters being
brought to bay by a helicopter on
a mountain top in the black of
night. Even this, Fraker stated, was
easy as

it

may

most

was

scenes at

Big Bear Lake at night. We used

a

all real."
As for the

a
on

real police
it. In fact,

camera

crew:

"They worked sensationally. Steve
Yaconelli was the operator. David
Diano and Richard Turner were
the assistants."
As an in-demand director
of photography, Fraker works in
all of the major studios. Like most
members of his profession, he is
enthusiastic about his work and
exuberant about the camaraderies
that develop over the years within
the various production teams. He
admits to one nagging problem pe¬
culiar to the movie industry:
"In every

today
have

as

well

as

major studio,
in the past, you

that studio's system of
operation. Each studio's system is
different. The equipment may be
to use

but the systems are old. I
don't believe that this is advan¬
new,

tageous when it comes to making
movie. We must be able to use
the system, yet get the creativity

a

everybody wants in a new picture.
I don't profess to be able to run a
studio, so I work within the sys¬
tem, but I always feel I should be
able

to

systems
a

be

more

creative than the

allow. This applies even to
as out-of-the-ordinary as

picture

War Games."

The time

to

do

some¬

thing about this problem is long
overdue, Fraker admits, but he
feels it would be advantageous to
all concerned if a concentrated
effort were made to correct the
situation.
"All the studio heads and

production people should get to¬
gether and see what everybody
needs in order to not be hampered
by the system. A research council
should be established to standard¬
ize equipment and thus develop

creativity. You shouldn't have to
a system that won't al¬
work to 100 percent of
your capacity. When you can't do
that, the producers aren't getting
what they pay for.
work with
low you to

"Don't misunderstand
me:

"We shot those

April 1984

it

realistic way

possible.

Cable: Filmscreen
42

a

14mm

done in the
1161 West

on

lens. It's normally
something you don't do. You
don't do pans and 180s with wide
angle lenses because the room
looks like it is sliding by, but with
a combination of highlight and
a

real helicopter with
searchlight mounted

I love

Hollywood and I love
there can

the systems, but I think
be better systems."

■



American Cinematographer - April 1984

Table of Contents for the Digital Edition of American Cinematographer - April 1984

American Cinematographer - April 1984 - 1
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American Cinematographer - April 1984 - 116
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