American Cinematographer - December 1988 - 90
MAC MOVIE
FORMS
SOFTWARE
the other
changes the shutter angle
Production Forms
from your Macintosh
MAC MOVIE FORMS
ND wheel which went from clear
the two trees in front of it. "The
black to four
-
CS104
call sheets
etc.
MAC VIDEO FORMS
-
CS105
A
complete package of forms for the
video producer
MAC MOVIE FORMS-COMMERCIALS
-
CS103
18 of the most
and AICE
*
*
*
popular forms inc. AICF
budget forms
Replaces bulky pads
Easily personalized
Use with Macpaint, Superpaint &
Fullpaint software
trees
slight progression. As the camera
speed changed, the little black me¬
mits.
ALAN GORDON ENTERPRISES, INC.
1430 CAHUENGA BLVD., HOLLYWOOD, CA 90078
TEL: (213) 466-3561 - TWX: 910-321-4526
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we
built maintained
constant or net
*
*
*
*
we
keep the amount of light passing
through the lens constant."
All of the miniature sets
Dream
Quest shot
for post¬
production Blob effects were built
by master miniature maker Greg
new
TV
series. Before
doing any building
The Blob, Jein first went to Ab¬
beville to walk the town, where he
on
took
the
panoramic reference photos of
as they appeared at
time
later, they were given
buildings
-
false fronts.
Motion Picture Equipment
Service/Sales/Rental
Jein decided to construct
the main Blob miniature, the town
of Abbeville, in a 1/8 scale "because
it worked for
me
on
car
1941," he
parts were
available in that scale, so we didn't
have to make all these scratchbuilt
automobiles, though we wound up
sculpting most of the cars ourselves
on
a
lot of the accessories. Unfor¬
(ARRI, ECLAIR, BEAULIEU, BOLEX Etc.)
Factory trained by AATON
and ANGENIEUX in France
20 yrs
experience in motion
picture field
Servicing all major motion
picture equipment
set in relation to where it
was on
Chicago, IL 60610 312-664-3752
good job using partial live fo¬
liage and plastic leaves. They origi¬
nally used live leaves, which gave it
a better look, but
they all died by
the time they got around to shoot¬
ing it."
-
DILIGENT
The ultimate
the Blob
disposal of
left in the very capable
hands of Chris Gilman, head of the
was
relatively new effects facility with
the unlikely name, Diligent
Dwarves. After the Blob
ed with
freezes
a
was
blast¬
large dose of C02, it
over
and becomes
a
Blob-
crystalized blob - which
Gilman and company ended up
vacuforming out of lightweight
plastic, to the pleasant surprise of
The Blob's director. "Originally, they
-
a
wanted to make the frozen Blob in
resin," Gilman laughs. "I said, 'No
way! It'll weigh nine zillion
pounds!' Instead, I told them we
could vacuform it out of clear plas¬
tic, and paint it from behind. They
weren't
sure
vacuform
could
achieve the look
they wanted, so we
agreed to make them a sample.
Rima Litonjua made a quick crystal
pattern from wood blocks - we
been scaled down
pieces out of hard urethane, which
we
glued onto a board. We then laid
resin around the base to join them
all together, then drilled a bunch of
holes and vacuformed right over
that to create a real quick 6' x 6'
piece."
The powers that be of The
Blob were impressed. The only
trouble was they needed a lot of
frozen Blob in a hurry. Even Dili¬
gent Dwarves would have had trou¬
ble turning out the 130 4' x 4' panels
required in so short a period of
or
they should
pushed it back through the
wall of the soundstage. The steeple
was the first
piece we built just to
have
see
how fast
we
could do it
float. It worked out
us
some
-
mass
okay, and
we
gave
ideas about how to
use
produced vacuform bricks.
The whole town took three
months to construct. We had
or
four
a
lot of
good people we borrowed from
other companies who were pretty
dead at the time, so the quality was
actually pretty good for a low
budget/medium budget film."
were
probably the most difficult
445 W. Erie Street Unit 103
88
a
made molds
The town hall and its trees
SMS PRODUCTIONS, INC.
Mike and Dave did
the location. It either should have
put it together like a big parade
AATON
ANGENIEUX
REPAIRS
on us.
real
sicle
ARRIFLEX, SPECTRA,
STEENBECK, and TIFFEN
Buy/Sell/Trade Used
Equipment
burden
Encounters, Batteries Not Included,
tunately, in that scale we ended up
with a church steeple that was 15
feet high, which nobody wanted!
They couldn't get it back far enough
expendables
duplicate the trees in min¬
iature, he'd have to find another
location, so that was the biggest
DWARVES
the later Star Trek films and
we
couldn't
CHRIS GILMAN
and
Full line of
big worry," Jein ad¬
a
"The director felt if
out-of-this-world creations for Close
Dealer for most
major
companies including
were
Jein, who is most famous for his
laughs. "A lot of
SALES/SERVICE/RENTAL
As
exposure.
a
turned the frame rate up or down,
this little wheel would track and
that
$42.00 each
Hosch and Dave Schwartz to build
stops down in a very
27
ready-to-use motion picture and
video tape production forms inc.
calendar, casting, production reports,
Jein built the
city hall and contracted Mike
chanical box
Computer-generated
items to construct.
and makes the shots appear to
strobe. Instead, we used a variable
December 1988
time
-
on
and that
Gilman's
those and cast the
was
the least of
problems. "We
were real
concerned that the frozen Blob
crystals would appear like a repeat¬
ed patchwork pattern," he admits.
American Cinematographer - December 1988
Table of Contents for the Digital Edition of American Cinematographer - December 1988
American Cinematographer - December 1988 - 1
American Cinematographer - December 1988 - 2
American Cinematographer - December 1988 - 3
American Cinematographer - December 1988 - 4
American Cinematographer - December 1988 - 5
American Cinematographer - December 1988 - 6
American Cinematographer - December 1988 - 7
American Cinematographer - December 1988 - 8
American Cinematographer - December 1988 - 9
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American Cinematographer - December 1988 - 13
American Cinematographer - December 1988 - 14
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American Cinematographer - December 1988 - 20
American Cinematographer - December 1988 - 21
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American Cinematographer - December 1988 - 25
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American Cinematographer - December 1988 - 28
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American Cinematographer - December 1988 - 30
American Cinematographer - December 1988 - 31
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American Cinematographer - December 1988 - 33
American Cinematographer - December 1988 - 34
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American Cinematographer - December 1988 - 36
American Cinematographer - December 1988 - 37
American Cinematographer - December 1988 - 38
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American Cinematographer - December 1988 - 40
American Cinematographer - December 1988 - 41
American Cinematographer - December 1988 - 42
American Cinematographer - December 1988 - 43
American Cinematographer - December 1988 - 44
American Cinematographer - December 1988 - 45
American Cinematographer - December 1988 - 46
American Cinematographer - December 1988 - 47
American Cinematographer - December 1988 - 48
American Cinematographer - December 1988 - 49
American Cinematographer - December 1988 - 50
American Cinematographer - December 1988 - 51
American Cinematographer - December 1988 - 52
American Cinematographer - December 1988 - 53
American Cinematographer - December 1988 - 54
American Cinematographer - December 1988 - 55
American Cinematographer - December 1988 - 56
American Cinematographer - December 1988 - 57
American Cinematographer - December 1988 - 58
American Cinematographer - December 1988 - 59
American Cinematographer - December 1988 - 60
American Cinematographer - December 1988 - 61
American Cinematographer - December 1988 - 62
American Cinematographer - December 1988 - 63
American Cinematographer - December 1988 - 64
American Cinematographer - December 1988 - 65
American Cinematographer - December 1988 - 66
American Cinematographer - December 1988 - 67
American Cinematographer - December 1988 - 68
American Cinematographer - December 1988 - 69
American Cinematographer - December 1988 - 70
American Cinematographer - December 1988 - 71
American Cinematographer - December 1988 - 72
American Cinematographer - December 1988 - 73
American Cinematographer - December 1988 - 74
American Cinematographer - December 1988 - 75
American Cinematographer - December 1988 - 76
American Cinematographer - December 1988 - 77
American Cinematographer - December 1988 - 78
American Cinematographer - December 1988 - 79
American Cinematographer - December 1988 - 80
American Cinematographer - December 1988 - 81
American Cinematographer - December 1988 - 82
American Cinematographer - December 1988 - 83
American Cinematographer - December 1988 - 84
American Cinematographer - December 1988 - 85
American Cinematographer - December 1988 - 86
American Cinematographer - December 1988 - 87
American Cinematographer - December 1988 - 88
American Cinematographer - December 1988 - 89
American Cinematographer - December 1988 - 90
American Cinematographer - December 1988 - 91
American Cinematographer - December 1988 - 92
American Cinematographer - December 1988 - 93
American Cinematographer - December 1988 - 94
American Cinematographer - December 1988 - 95
American Cinematographer - December 1988 - 96
American Cinematographer - December 1988 - 97
American Cinematographer - December 1988 - 98
American Cinematographer - December 1988 - 99
American Cinematographer - December 1988 - 100
American Cinematographer - December 1988 - 101
American Cinematographer - December 1988 - 102
American Cinematographer - December 1988 - 103
American Cinematographer - December 1988 - 104
American Cinematographer - December 1988 - 105
American Cinematographer - December 1988 - 106
American Cinematographer - December 1988 - 107
American Cinematographer - December 1988 - 108
American Cinematographer - December 1988 - 109
American Cinematographer - December 1988 - 110
American Cinematographer - December 1988 - 111
American Cinematographer - December 1988 - 112
American Cinematographer - December 1988 - 113
American Cinematographer - December 1988 - 114
American Cinematographer - December 1988 - 115
American Cinematographer - December 1988 - 116
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