American Cinematographer - December 1988 - 64

(

Right: Boss techni¬
cians Alan Faucher,
Dana Yuricich (on

lift}, Tom Griep and
Pat

McClung (low¬
right, in white
shirts) working on
er

the 25-foot minia¬

replica of
Century City's Fox
Plaza. Far right:
ture

Radio controlled

miniature

helicop¬

ter flies over

the

top floor of the
model. Below: Ron
Gress puts the fin¬
ishing touches on
the chopper.

MbyViirragnol
Phot s

falling. Then the helicopter blows
its own. It was all done in the

up on

with

camera

added effects;

no

Thane and Bill did it all. The build¬

ing
was

miniature. The heli¬
quite an expensive unit -

was a

copter

-

radio controlled. We had three

shots at this, at $3,000 to $4,000 per

get the explosion to match, then do
rotoscope mattes from that and
then

composite it. Then the flame
had to engulf the helicopter, so
there was another sub-rotoscope
where there had to be

a

ball of fire

placed just right within a bigger
ball of fire. Only Thaine could do
those in miniature, position them
and know which

part will be bigger
than the other. That's pretty eso¬
teric, like trying to control wild
stallions."

62

American Cinematographer

The best of these

shots,

Edlund feels, brought him a
call from producer Silver:
shot is

of the

phone
"That
totally legitimate! It's one
best you guys ever did."

Edlund

described

the

scene:

"You're

looking up at the top of the
building, where there's a huge fire¬
ball. The helicopter comes spin¬
ning out of the fireball, falling
towards

camera.

has another

The fireball then

sub-explosion going on
within it as the helicopter continues
December 1988

helicopter; they got it on the second
one and it was
magnificent. Every¬
body was out there watching and
there was no question in anybody's
mind at that point. We shot a video¬
tape of it in real time; it falls over,
bam, and it looks funny on film. It
was shot at about 240
fps, not at top
speed - we eased back after doing
some tests to check the
speed. It
was a difficult and
relatively expen¬
sive shot to set up, but not
prohibitive."
At Boss,
are

almost all effects

shot in 65mm, which offers

large image

a

with which to
work. In this way it is possible to
produce composites of such high
quality that when reduction dupes
to 35mm

are

area

made, the effects shots

don't suffer when intercut with
35mm

Edlund

production footage. As
explained, "Anytime

you're creating visual effects

you



American Cinematographer - December 1988

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