American Cinematographer - December 1988 - 65

Far left: The

crew

prepares a larger
version of the heli¬

copter for cockpit
closeups. Left: On
the stage at Fox,
moments before

the villain

plunges

20 feet into

a

blue

backing. The
was

scene
shot 35mm

anamorphic at
300 fps. Below:
A pleased crew
surrounds the
versatile

Image

300 camera, used

for many of the
high speed shots in

Die Hard. From left
to

right. Stetson,

Edlund, Neil,
McTiernan, and
Boates.

begin with the biggest pos¬
negative because you're going
to amplify image problems with
each succeeding generation."
Die Hard was photo¬
graphed with anamorphic lenses,
want to

sible

which has been known to create

problems in visual effects produc¬
tion. Edlund, however, expressed a
liking for working in anamorphic
format. "I think it's

a

much

more

dynamic aspect ratio. "It's more 'big
movie'-like, the way God wanted
pictures to be made, and it uses all
the 35mm negative. With 1:85
you're throwing away much of the
negative, although with spherical
lenses you end up with a better
depth of field. A lot of people con¬
fuse depth of field with sharpness.
Anamorphic is more difficult to
compose for, but there are a lot of
cinematographers who know how
to use it, and it does provide some
problems for us, but we've learned
to deal with them.

"Actually, it makes our
material look better; look at the
quality in Die Hard. Jan DeBont is a
great cameraman and he was able
to produce a really lush, rich look
even

though it's high-speed, low-

light photography. He shot the en¬
tire picture on Eastman 5295. Our
effects shots cut in seamlessly and
you don't see any dupey quality.
Oftentimes when you dupe in
35mm you get a scene that looks
dupey and it doesn't cut in right
with the rest of the
Hard there
that

were

are

done

tes. What we

scenes.

In Die

eight
as

or nine shots
35mm composi¬

do sometimes to avoid

that dupey look in 35mm, espe¬
cially for titles, is to use two inter¬

December 1988

positives. That's
tried first
ILM

on

a

technique

E. T. when I

we

was

at

used two

interpositives
I've always dis¬
- color reverse
internegative - "because it has a
sort of swimmy grain look. The last
dupe I remember that was really
hideous in that way was Kramer vs.
Kramer, which was beautifully pho¬
tographed by Gordon Willis, but
the grain in the release dupe was
like golf balls. A lot of times I see
-

we

50/50 exposure.
liked using CRI
at

American

Cinematographer

63



American Cinematographer - December 1988

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