American Cinematographer - December 1988 - 98
there named Rex Recker. I brought him a
stack of tapes with the selected voices and
soundtrack music. Hours of music.
"I showed him the rough cut.
Based on that, we mixed the sound on a
24-track, computerized audio console. We
mixed the music first, then the voices. Alex
had some suggestions and we made the
revisions. We came up with a piece that, if
you listen to it, really works as radio. That
was
key to the strength of it."
For Paintbox artist John Sem-
street."
on
Maple
ing excerpts was
storytelling'.
choosing and edit¬
to avoid 'unintentional
''In film,'' Chris
Harvey notes,
"you juxtapose two shots and you tell a
story. This we sought to stay away from. For
instance, in the clip from 'Five Characters in
Search of an Exit', we used William Windom's line over the clown's face, 'Who are
we?' We had originally chosen his line,
'Where are we?' The next shot in the
montage has Cliff Robertson running into
view from '100 Yards Over the Rim'. We
didn't want to have Windom yelling 'Where
are we?' and Robertson saying, 'Just over
that ridge there, about a hundred yards' It
becomes a story that doesn't exist. The
point was to keep it abstract. It's a montage
in
a
true sense
without any
hand,
we
-
moment after moment
linear progression. On the other
wanted to build
a
mood with
pacing and tension, without telling a literal
story. That was very tricky."
Once the decisions were shown
and approved the next job was to finish the
"From this, we made a custom¬
landscape for every character/' Harvey
explains. "The customization was based on
the lighting of the cut-out character and the
camera angle. So the backgrounds were
always consistent with the treatment of the
foreground character. They move up and
down and are lit from different sources.
There's a pan from the talking doll to the
manikin. That was a lot of figuring out for
John: what is the lighting on this character?
Is it just key and fill? And so on.
"When we went into the edit,
we added time-lapse cloud footage, which
was distorted and stretched with the ADO.
We also matched the lighting and mood of
the clouds to each character. There were
some very subtle effects that were added in
the edit. There's mist flowing across, and
little
changes in the shadow. Sometimes we
took shadows from the actual character and
softly keyed it over the landscape.
are perceived only peripherally
by the viewer, but it makes it more realistic."
very
These details
Their next
move was to
isolate
foreground characters from 16 chosen epi¬
audio. Normally, the picture is cut to finished
sound. In this case, Weil and Harvey wanted
the audio montage to be very strong. They
elected to do the audio first and have much
of the tension reflected in the mix.
sodes and video-matte them over this con¬
trived background of nuclear devastation
and time-lapse clouds. John Semerad began
a tedious operation of "cutting out" the
characters on a Paintbox by tracing their
outlines and electronically opaquing their
Harvey took the audio to Photo¬
Sound in Manhattan. "There's a mixer
shapes as hold-out mattes. The mattes are
then switched from positive to negative -
mag
96
made from frames of the holocaust
ized
had to be solved in
American
Cinematographer
was em¬
stack of Winchester disk drives that can
hold an entire tape clip, enabling the artist
to work on it in a stop-motion mode, picture
a
by picture." In addition, the Harry has
Many rough cuts were screened
with Alex Weil and CBS. One problem that
and down, with a voice-over. Later, I chose a
shot of Gig Young sitting in his car. The audio
was ta|
American Cinematographer - December 1988
Table of Contents for the Digital Edition of American Cinematographer - December 1988
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