American Cinematographer - February 1986 - 71

Watkin lit the
interiors from
outside.
Below

-

Lanterns

and candle
were

source

The 5247

changing their stocks all the time.
is still a very good
stock, and 1 know exactly what

softer film," agrees Sydney Pol¬
lack. "You're recording the con¬
trast of what is already over-

it'll do."

contrasty.

You'd expect

that, using
both the Agfa 320 and the Kodak
5247 (with its slower ASA),
Watkin would employ the fast film
for nights and interiors, and keep
the slower stock for day exteriors.
Guess again. Watkin did the unex¬
pected, doing the exact opposite:
he used the Agfa for exteriors and
the Kodak for nights and interiors.
"In theory, the 5247 is
100 ASA and the Agfa is 320 ASA,
but Kodak has raised its ASA

to

and Agfa looks best in full
you're going to use it
at 200, not 320. So, the two
stocks are not that far apart in
speed - one stop - and I'd rather
shoot at 4 than at 5.6. Agfa is
much less grainy than the 5294, by
the way, and a lot more people are
using it (Chris Menges, for exam¬
ple, on The Mission). "There's in¬
135,

exposure, so

creased contrast, and it's

still

a

light

often used

as

lights.

What we did was to
spread the soft light."
The Agfa 320, however,
did not seem to suit the director in
low light levels, or in the shade.
"We couldn't get real blacks in the

interiors, and

to get real blacks, we
used the Kodak 5247."
But if Pollack and
Watkin were in agreement on the
how to use and how not to use
film stock, they were far from

eye to eye when it came to
the subject of cameras and lenses.
The American director of Tootsie,

seeing

They Shoot Horses, Don't They?
and Three Days of The Condor, is
used to Panavision. He has always
used their cameras. He likes them.
And they have never given him a

the other
hand, will not put anything on his
cameras except the super speed

problem. Watkin,

on

Zeiss lenses which

Germany and
mounted

February 1986

on

are

can

made in

only be

Arri BL's. He

swears

by these lenses. To him, they more
than justify being deprived of Pan¬
avision cameras.
"There isn't any question
that Panavision cameras are the
best in the world," he says, "but
what's the point? The audience
doesn't see that. The crew has a
nice time, but the audience only
sees lenses and stock. I'd rather
have a good lens, even if the Arri is

The only thing
think of is what ap¬
pears on the screen." Yet, all the
while he was making and, later, as
he was editing their joint African-

a

noisy

camera.

that you can

set

adventure, sound

American

Cinematographer

was very

69



American Cinematographer - February 1986

Table of Contents for the Digital Edition of American Cinematographer - February 1986

American Cinematographer - February 1986 - 1
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