American Cinematographer - June 1984 - 72

Frame

posed

to be on top of a skyscraper
in New York. Production designer

enlargements

of elements and

composite for scene
in which Stay Puft
Man comes looking

John De Cuir built
set at

temple, but it was up to BFC to
the temple on top of a build¬
ing in New York.

for the Ghostbusters.

put

Live action element
was

shot

blue

screen at

against

a
the

Yuricich comments: "To
match with the temple top created

Burbank Studios.
The

Stay Puft Man

was

shot

by John De Cuir, I added about 30
onto the building that we
actually used in New York. It's ac¬
tually an old-fashioned kind of

on a

stories

miniature set at BFC,
and

a

matte

by Yuricich

an enormous

The Burbank Studios for the

painting
was

used to tie the two

work, because

matte

together.

you must re¬

the realism and

yet take li¬
with it. In a way, this is
harder because what you're paint¬
spect

cense

ing is really out there. For in¬
there are many buildings
two, three or four times taller than
this one building. We cut those
other buildings down shorter, so
that the temple top looks like it's
up there alone. We want this to be
the building you see. That in itself
is difficult, because the building
stance,

looks different. Whenever you see
the Empire State building in the
New York skyline you buy it, be¬

you're familiar with it. This
building looks real, but people are
going to wonder where it came
cause

from."

Although the production
schedule did not permit the kind
of detailed production illustra¬
tions

one might
expect on a pic¬
of this scope - in some cases
Yuricich had to do matte paintings
with only a storyboard sketch as a

ture

guide

-

there obviously had

to

be

considerable amount of pre-pro¬
duction planning to permit this al¬
teration of the New York skyline.
Extensive location stills were shot
and John Bruno, the visual effects
a

art

director, storyboarded all of

the effects shots with
how they could actually

an

eye to

be accom¬
plished. Conceptual storyboards
had been done for

a

lot of the

script before Bruno joined the
production. "I reboarded what
had originally been done so that it
There are about 50 matte
shots in the film with paintings by
Matt Yuricich and camera work

70

chitecture of New York to accom¬
modate "Gozer's Temple" and
other

supervised by Neil Krepela. Most

imaginary locales or to tie
together footage of miniatures and

of the

live action. Gozer's

mattes serve to

American

Cinematographer

alter the

ar¬

June 1984

Temple is

sup¬

would better fit our effects work.
"After completing that 1
out boarding the rest of the
film starting with the Terror Dog
in Louis' apartment, the Onionset

head sequence

and then the fi-



American Cinematographer - June 1984

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