American Cinematographer - August 1985 - 86

intercut with realistic, full-scale

footage.
By swinging the Louma arm through the
elaborate miniatures, intricately choreo¬
graphed tracking shots were executed.
These kind of shots,
and unusual

as

vital

they were to the produc¬
tion, were actually quite standard for
the Louma. Less so was its application
for Peter Hyam's 2010.

ANOTHER BROOKS GRAD WHO MADE IT TO THE TOR
As Director of Photography for M.A.S.H., one of history's most highly-regarded
TV shows, Dominick Palmer has

paved the way for a new generation of creative
cinematographers. Where did Dominick learn his craft? Brooks Institute in Santa
Barbara, California.
At Brooks, we provide the type of comprehensive education that's designed to
bring the best out of our students. You'll learn all aspects of film making, including:
□ Stage & location lighting
□ Directing
□ Stage &
□ Film & video camera technique
□ Editing
location sound
□ Screenwriting
□ Production techniques
If you're considering a career in film making, first consider how important your
education can be to your career. That's why Dominick Palmer chose Brooks.
And maybe that's why he's where he is today.

BROOKS INSTITUTE
For information write or call, Director of Admissions, Brooks

Institute, 801 Alston Rd., Santa Barbara, CA 93108 (805) 969-2291.

as

"We had to narrow the
Louma down for the hallway shots in
the Soviet airship," explains George
Michael Brown, Louma technician on
both 2010 and To Live and Die in LA.
"We had to narrow the track. We

dropped the centerpost down to 18
inches and had the camera at least 6
inches off the ground, shooting up most
of the time. And these were fast move¬
ments down the hallway, 20 to 25 feet
in just a couple of seconds. It was one
of the

toughest shots I

ever

Friedkin, too,
with

had to do."

was

concerned

speed for To Live and Die in LA.

As he sat down with Romanoff, it was
one of the first questions he had to ask.
"Can you operate at 50 mph?"

"Speed is not the challenge,"
Romanoff replied. "What we have to
calculate are changes in direction, start¬
ing and stopping quickly."
"That we don't need," said
Friedkin. "But what do you put the
Louma on when you're driving?"

"Any of the better

camera

cars," Romanoff suggested. "The

3FER*
ENLOUVA
CRANE
daily

or

weekly rental

Remote control

through

video assist with Arri

35BLIII, 16-SR, 2-Cb,
and

Ikegami HL 79DA.

Max. lens

height to 18Vi feet.

Full control of focus,
pan

zoom,

& tilt.

driver's your choice. I want to tell you
though what the Louma does real well.
You mentioned the claustrophobic feel
that you're after, and what we do is
skewer things. Because of the modular
quality of the crane, we can go through
and over things, into very tight places,
very easily. Say you're trying to get
between two snugly parked cars and
you walk sideways, shuffling through,
We can do that without any problem.
"Did you see Out/and?" Ro¬
manoff continued.
scene where Sean

"Remember the

Connery is running
across tabletops and the camera is
tracking with him at his feet? Louma
shot. Put the track

out at

the side of the

tables, parallel to the subject, and the
Boom

weighs only 270 pounds, breaks down for

transport in a small van. Hydra-damping "fluid head"
action

assures

smooth

diagonal

moves.

c^tlaifta Rim Equipment Reqtals*6
1 848 Briarwood

Rd., NE, Atlanta, Ga. 30329

404/325-3676
84

from there at the exact length
let the camera follow. All the broken
field is visible to the lens, but the cam¬
arm out

to

era doesn't
traffic."

have

to

deal

with

the
American Cinematographer - August 1985

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