American Cinematographer - April 1985 - 99
Splash
-
I
"O
ha
enjoyable. The parody of
most
"Don Giovanni" and
Magic Flute"
on
later, "The
o
flWHO
U'W
luxury for most of the
shooting - the ability to use tradi¬
a
tional
movements
camera
many extra
Thunderball
-
Cover Girl
-
Pan Am
-
Epcot 3-D
-
G.E.
PRODUCTION
UUJunomuma
brought to life
Here he had what
-
nriLiTAi
lights in
and
as many
uw
of
o
hLN I ALo
UW
H;Sk
111
with \rA
Video Assist m
Sound
"W
Dolphin
Special Effects
Locatlon
,
-
You
Lighting
as
Only
places
he wanted.
"We had many more pos¬
sibilities here in this theater be¬
cause we could use a crane and
as
dolly and
we
color of the
could work with the
I
Day
the
were
these stages.
was
Never Say Never Again
Live
DCA/IATSE
P.0. Drawer 1630.
Delta
-
Chips
-
1630 S.W. 17th St., Suite 200 Ocala, FL 32674
(904) 732-2268 Telex: 56-336
Fantasy Island - Benji - Western Electric
-
Flipper
-
Jaws 3-D
-
Lady Ice
Twice
-
trying to
keep the unity of the interior loca¬
tions and the soundstage so that
no one would recognize what was
shot on the soundstage," said
set.
was
Ondricek.
According to Ondricek,
Emperor's Palace was the
most difficult sequence to film. We
used the Grypek Palace in Prague
as the location. Today it is the
home and headquarters of the
Archbishop. We were shooting ev¬
erything from the floor to the ceil¬
ing yet we had so few possibilities
to move or place a light. We were
not allowed to light outside the
windows, so we relied on the sun.
During the time we were shooting,
some days it was raining and some
days it was sunshine. It was very
"The
difficult."
The lack of something
often stirs imagination and in¬
ventiveness. Because Ondricek
was unable to rely on augmenting
the source lighting outside the
BERC. THE NATION'S
BETACAM RENTAL LEADER
Continues it s committment to Betacam with all new
BVW-30 Plumbicon Betacams and Betacam Underwater
Housing.
With all
Sony Betacam options.
windows, the film has
a realism it
might have otherwise lacked.
Often, if there is a window in a
scene it is so overexposed it is
practically burned out. The effect
is marvelous and contrasts sharply
with the dark, candle-lit scenes.
The scene of Salieri's first encoun¬
ter with Mozart is one of those
Using the perfect ba¬
palace in Kromeriz as a loca¬
moments.
roque
tion, the white
room
is filled with
white light - the windows are so
hot the panes disappear - with
people in white wigs and
with white faces.
women
Salieri, the only
one in a brown wig and dark
clothes, stands out from the
crowd and is revealed perhaps
the first time as a villain.
for
and
complete underwater systems.
YOUR FULL SERVICE RENTAL COMPANY
WE BROADCAST EQUIPMENT RENTAL COMPANY
4545 Chermak, Burbank, California 91505-1063
(818)841-3000
97
American Cinematographer - April 1985
Table of Contents for the Digital Edition of American Cinematographer - April 1985
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