American Cinematographer - March 1988 - 91

Rebo Takes

High Definition to Big Screen

by Brooke Sheffield Comer
No

knew what to expect.

Put a video
production/post house (Rebo HD
Video Inc.) together with a die-hard film
crew, and you could wind up with anything
from quarrels to chaos. But peace reigned
on the set of the first American-made high
definition feature, Do It Up, starring and
directed by Robby Benson.
There was some good natured
jesting. "Everytime we needed to register
the camera, or do something that wouldn't
be necessary on a film shoot, the crew
would jibe us," admits producer Barry Rebo.
But film-bred wardrobe and make-up people
were amazed at the nuances Sony's
HDC-100 camera could bring to their depart¬
ments. "Consequently, everyone improved.
There was so much more in the picture, that
everyone felt pressured to do extra well,"
one

oriented

Rebo reveals.
Is the story that simple? Film
crew meets video house, and the two
factions work extra-well together? High
resolution breeds higher esthetic standards,
with no intrinsic problems? "It was hard

work," says Rebo, "but isn't the production
of any film?" Do It Up is not just any

Above: 'The Wiz'

production. Consider the fact that the video-

(Jhimi Kennedy) cen¬
ter, about to kill drug

oriented Rebo team had to create visual

cheats while 'The

imagery on one format, and predict how the
final outcome would look in yet another
format-not to mention the adjustment
process to Sony's new HDC-100 camera.
Rebo and company approached
Do It Up as a film shoot. They really didn't
have much reference material, being only
the second group in the world to embark on

Tin Man' (Mark

Margolis) and Scott
IRobby Benson)
watch in horror. Left:

Benson and

Tawny

Kitaen, innocents
lured

by drug money,
Up.

star in Do It

an HD feature. But Rebo was able to get
feedback from Italy's RAI, whose Julia and

Julia, starring Kathleen Turner, was the first
feature made utilizing the HD system. (See
American

Cinematographer, Sept. 1987.)
In true film style, no monitor
graced the Do It Up set. "We didn't want to
get in the habit of watching a lot of play¬
backs," explains Rebo. But little by little, it

with the tape

became convenient for Benson to

matographer

own

see

performances, in the control

his

room,

to

know if

March 1988

a

machine. Traditionally,

cine¬

good. Then the director can look through the

or camera operator is trusted
shot's in focus, or if the mood is

lens and confirm it. But since Benson was
often on the other side of the lens, he used

a

American

Cinematographer

89



American Cinematographer - March 1988

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