American Cinematographer - February 1985 - 48
noon
stuff," said Cohen. One
pe¬
culiarity of the Coliseum is that
the backlighting becomes pro¬
PALMER
INTERLOCK
PROJECTORS
nounced
sun
at
about 3:30 p.m., as
dips towards the
the
"All
ocean.
the action coming towards the
finish line and a lot of the high
jump, shot put and pole vaulting
takes place in backlight," said
Cohen.
To get the high framing
needed, 8512 stock had to be
used at that time of day and into
the evening. "That stock really
digs into the shadows," remem¬
bered Cohen. The highest ASA
used was 640 for film normally
rated at 320. All the interior ven¬
ues were shot with
high speed
8512, rated anywhere from 3 20 to
640 ASA.
rates
now
with
Dynamic Sync Control
This exclusive new feature allows picture and magnetic
track relationship to be adjusted while the projector is
running. Palmer interlocks are dependable, easy to
operate, and gentle on all kinds of film. There are four
new models for single and double system playback
and studio quality recording.
"We shot volleyball at
640," said Cohen. "We read a 6.3
and
we shot slow motion
frames per second, so we
Write for full details.
at
60
were
shooting everything
W. A. PALMER
611 HOWARD STREET
l
*
SAN FRANCISCO, CA 94105
San Francisco's
at about 3.5.
It looked great, gorgeous sharp
FILMS, INC.
complete 16
■
color, right
PHONE (415) 986-5961
mm
film service
technological dnevideo /ervice/, inc.
i
diete
cameraman
and use the zoom unassisted,
should the need arise.
"One of the things that
made this film successful," Cohen
out,
"was the ability of
the operators to compose and
focus their own shots, and to fol¬
low the action tight enough to
make it dramatic and exciting.
When you're shooting lenses at
for
|inBie
flesh tone."
normally has an assistant, a sports
photographer is expected to be a
solo pilot. He must follow focus
pointed
ABB!?
ail**1®
on
While each
Ren
3.5 or 4 (and sometimes the
Canon high-speed lenses which go
tal
down
2.8), and
don't know
going and
you're coming home with the
goods, well, everybody can be real
proud."
Many of the operators on
to
you
where the action's
the film who have worked in stu¬
dio settings got their start in sports
work and were able to tap old
skills.
"This is not like any
other feature Hollywood produc¬
Technological Cinevideo Services, Inc
630 Ninth Avenue * Suite 1009 * New York, N.Y. 10036
(212) 247-6517
T. Carl
Schietinger, President
Mailing Address: P.O. Box 25 Closter, N.J. 07624
tion," Cohen continued, "where
the director of photography reads
the meter, lines up the shot and
works closely with the director.
American Cinematographer - February 1985
Table of Contents for the Digital Edition of American Cinematographer - February 1985
American Cinematographer - February 1985 - 1
American Cinematographer - February 1985 - 2
American Cinematographer - February 1985 - 3
American Cinematographer - February 1985 - 4
American Cinematographer - February 1985 - 5
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American Cinematographer - February 1985 - 7
American Cinematographer - February 1985 - 8
American Cinematographer - February 1985 - 9
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American Cinematographer - February 1985 - 14
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American Cinematographer - February 1985 - 17
American Cinematographer - February 1985 - 18
American Cinematographer - February 1985 - 19
American Cinematographer - February 1985 - 20
American Cinematographer - February 1985 - 21
American Cinematographer - February 1985 - 22
American Cinematographer - February 1985 - 23
American Cinematographer - February 1985 - 24
American Cinematographer - February 1985 - 25
American Cinematographer - February 1985 - 26
American Cinematographer - February 1985 - 27
American Cinematographer - February 1985 - 28
American Cinematographer - February 1985 - 29
American Cinematographer - February 1985 - 30
American Cinematographer - February 1985 - 31
American Cinematographer - February 1985 - 32
American Cinematographer - February 1985 - 33
American Cinematographer - February 1985 - 34
American Cinematographer - February 1985 - 35
American Cinematographer - February 1985 - 36
American Cinematographer - February 1985 - 37
American Cinematographer - February 1985 - 38
American Cinematographer - February 1985 - 39
American Cinematographer - February 1985 - 40
American Cinematographer - February 1985 - 41
American Cinematographer - February 1985 - 42
American Cinematographer - February 1985 - 43
American Cinematographer - February 1985 - 44
American Cinematographer - February 1985 - 45
American Cinematographer - February 1985 - 46
American Cinematographer - February 1985 - 47
American Cinematographer - February 1985 - 48
American Cinematographer - February 1985 - 49
American Cinematographer - February 1985 - 50
American Cinematographer - February 1985 - 51
American Cinematographer - February 1985 - 52
American Cinematographer - February 1985 - 53
American Cinematographer - February 1985 - 54
American Cinematographer - February 1985 - 55
American Cinematographer - February 1985 - 56
American Cinematographer - February 1985 - 57
American Cinematographer - February 1985 - 58
American Cinematographer - February 1985 - 59
American Cinematographer - February 1985 - 60
American Cinematographer - February 1985 - 61
American Cinematographer - February 1985 - 62
American Cinematographer - February 1985 - 63
American Cinematographer - February 1985 - 64
American Cinematographer - February 1985 - 65
American Cinematographer - February 1985 - 66
American Cinematographer - February 1985 - 67
American Cinematographer - February 1985 - 68
American Cinematographer - February 1985 - 69
American Cinematographer - February 1985 - 70
American Cinematographer - February 1985 - 71
American Cinematographer - February 1985 - 72
American Cinematographer - February 1985 - 73
American Cinematographer - February 1985 - 74
American Cinematographer - February 1985 - 75
American Cinematographer - February 1985 - 76
American Cinematographer - February 1985 - 77
American Cinematographer - February 1985 - 78
American Cinematographer - February 1985 - 79
American Cinematographer - February 1985 - 80
American Cinematographer - February 1985 - 81
American Cinematographer - February 1985 - 82
American Cinematographer - February 1985 - 83
American Cinematographer - February 1985 - 84
American Cinematographer - February 1985 - 85
American Cinematographer - February 1985 - 86
American Cinematographer - February 1985 - 87
American Cinematographer - February 1985 - 88
American Cinematographer - February 1985 - 89
American Cinematographer - February 1985 - 90
American Cinematographer - February 1985 - 91
American Cinematographer - February 1985 - 92
American Cinematographer - February 1985 - 93
American Cinematographer - February 1985 - 94
American Cinematographer - February 1985 - 95
American Cinematographer - February 1985 - 96
American Cinematographer - February 1985 - 97
American Cinematographer - February 1985 - 98
American Cinematographer - February 1985 - 99
American Cinematographer - February 1985 - 100
American Cinematographer - February 1985 - 101
American Cinematographer - February 1985 - 102
American Cinematographer - February 1985 - 103
American Cinematographer - February 1985 - 104
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American Cinematographer - February 1985 - 108
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