American Cinematographer - December 1988 - 43

control in

dolly shot, for example,
moving back and the
actor is trying not to walk on the
track, trying to keep his pacing
right, trying to keep to the one side
of the shot so that we can lay down
the

a

camera

is

the A side of the shot. Then

once

you've got that first shot, it has been
so dictated. That's the
way it is. So
when Jeremy has to do the other
side of the shot, he has to be con¬
scious of where his 'brother' was. In
a move

like that, there is a lot

We did

going

few takes mak¬
ing sure one 'brother' wasn't walk¬
ing faster than the other, not
crossing each other's split lines.
However, in any motion control
shot once we got the first side, there
was
nothing to think about as far as
on.

the

quite

camera

That

a

move

was

concerned.

locked in. The

was

wracking part

was

nerve

getting the

sec¬

ond half of the shot."

Wilson continued, "After
the first shot, Irons would run off,

get hair and make-up and ward¬
robe

changes, and during that time
the earth didn't
move! In one twinning shot, for
instance, we had a set with big
windows and daylight coming in.
In the time it takes to change the
we

would pray

actor from

one

role to another, no

matter how still the set

is, the

light

changes just enough

so that it is
noticeable." No outdoors twin
shots were called for in the script,

although they could have been
done, Wilson pointed out.
The live action shoot

was

just the beginning for Wilson and
the others. It was only in post that
the shots

really began to work.
were agreed
upon, then the final optical work
began. They rotoscoped everything
at Film Effects. They mapped the
location of the split all the way
through the scenes. Variations were
tried on the splits - like whether
we would use hard
edge or feath¬
ered splits. Sometimes it depended
"Once the slashes

on

the kind of surfaces

-

like how

high-key the backgrounds
had done
we

tried

a

are. We
number of tests where

everything from stainless

steel to Venetian blinds
-

even

-

anything

giant registration charts!

The process

itself, while

very

fin¬

icky for John and his people, simply

The Golden Anniversary of
The filters more professionals use.

NCBS5F1#-8u.a6o0YpA2m743leiXf:yrd

OGHMTNA91INURSFUVFP7ECA0YTE8RDNGI.GE,
CS3#UONLERT

41



American Cinematographer - December 1988

Table of Contents for the Digital Edition of American Cinematographer - December 1988

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