American Cinematographer - December 1988 - 49

Left:

Basinger is

the center of film
crew's attention in

Anaheim Stadium.
Below: Richard

Kline, ASC

which the alien

planet's elders ap¬
Basinger. "We designed the
scene to
go from day to night. It was
deemed that the scene would play
better against a dark background.
We made the scene go from day to
night, and Apogee superimposed
the B-footage of the elders, shot on
a
stage, with a black backing and a

ning for the scene gave us a rough
idea of what to do. We had decided
on a

pear to

palette, the colors that would

be used for the fireworks. We set up

multiple lights that could be
brought up and down with dim¬
mers. This
way, the color values
actually lit up the room - they
would blossom and fade

on

the

Vista Vision

walls, bed and actors. The fireworks

obviously
superimposed and lifeless."
A similar reactive lighting
situation arose in scenes calling for
the spaceship to land or take off. At
Hermosa Beach, the crew dug a pit

in the sand, about 30 feet in dia¬
meter and six feet deep. Again,

dimmer-controlled

used, and

as

lights

effect,

ship (to be added later by Apogee)
theoretically got closer, the lights
were brought up. The lights were
aimed up through a scrim, into a
30x30 silk, which illuminated
disk portion of the spaceship.

the

To
give the ring of light a graduated
look, rather than a hard edge, Kline
put lOK's on parallels to taper the
light away from the rim. In the
scene's final form, the lights come

we

get the day to night
used the simplest possi¬

ble method. We
ter

on

just took the shut¬

the back of the Panavision

and slowly closed it. It was
wide open in daylight, and we just
took it down to night. At the same
camera

up as
down

the ship descends, and cool
as

it touches down and

shuts off.

time,
"We had the

were

the imaginary space¬

camera.

"To

alone would have looked

same

situa¬

tion when the

ship lands in the GTE
parking lot," says Kline. The reac¬
tive light has to hit everything, in¬
cluding the people in the area.
Again, this was all planned before¬
hand. We imagined what John's
spaceship would do to the environ¬
ment, and I created it and put it into
the shot."
Close coordination with

Apogee
scene

was again required for the
Anaheim Stadium, in

at

December 1988

we

used HMI's for the equiva¬

lent of stadium

lights coming up.
suddenly
changed from late afternoon day to
a
mystical night. There was a prob¬
lem, though, with this scene. We
went longer than we expected, and
night fell before we could finish. I
So the whole

had to take

source

some

time and

use

the

stadium

lights to recreate what the
sun had been
doing prior to night¬
fall. It was something that I hadn't
planned on, but it worked out very
well. Despite our planning, I just
American

Cinematographer

47



American Cinematographer - December 1988

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

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