American Cinematographer - April 1989 - 70
not like
comedy lighting, either; a
light, but with
lot of richness and
shadows in the
corners.
We
night effects and
some
good effects in the girl's
room.
Mostly it's a nice 'straight'
job. It's the kind that's harder to
shoot than the
more
razzle-dazzle
camera
stabilizer when
shooting in the air or on water.
Major Mount-
For major shooting with a
Mitchell 35mm MKII camera.
-Middle Mount
Vibration free, smooth
tracking, finger tip controls for
film or video cameras.
Nose Mount-
Shoot
straight ahead or
t!lt180° for film or video,
with cockpit controls.
useful tool in that
was
a
treat," he recalls. "At the
time there
only three in the
were
world. It mounts
on the throat of
the camera, and it flashes your film
to a controlled exposure just before
or
doesn't have to
The result is very
come
from
specific
Davy Crockett
Isidore Mankofsky,
Tyler Vibration-Free
very
kind, because with those the light
places.''
Use A
a
"Using the Panaflasher
got
realistic
some
flasher is
area.
a new
adventure of the
intrepid pioneer. The real life ad¬
ventures of Isidore Mankofsky and
his crew during the filming of the
show could also be described
over
exposure,
and you
Disney pilot Davy Crockett
chronicles
through the camera.
similar to pre- or
post-flashing the film in the labora¬
tory, except you don't have to han¬
dle the film twice. Also, you have
runs
immediate control
ASC
The
after it
as
intrepid and pioneering. The crew
faced bone-chilling, soggy working
conditions through most of the
shoot. Mankofsky employed a rela¬
tively unknown tool, the Panaflasher, without the help of film
dailies or prior testing. These obsta¬
cles were obviously overcome by
Mankofsky and his crew - the
show has merited nomination for
the ASC Award.
have the option of chang¬
ing filters. I was very, very happy
with the results, even though I
didn't have the time to completely
familiarize myself with how to fine
tune the Panaflasher.
"We shot the film in the
British Columbia Wilderness Area,
which is mostly thick, dark forest.
It was overcast for much of the time.
Often, under the canopy of trees,
spot in the whole area,
at high noon, would be a 1.4. That
far north, you get less than seven
the brightest
hours of
my meter would come up on
'E'. So having enough light was a
problem. But you'd throw this
Panaflasher on and suddenly the
forest would look beautiful. It helps
to
see
that
-Mini Mount
daylight, and later in the
day,
into the
shadows, and it did
job magnificently.
"Another consideration
16mm mount with
finger tip
controls for camera, motorized
focus, & variable speed zoom.
the film
on
that it
was
was
to be
directly transferred to tape. As any¬
one
who has been in that unfortu¬
position knows, the tape
people can do just about anything
they want to your images. I didn't
want the film to have deep blacks,
so I didn't want to
give them a piece
nate
Video Mount-
New Tyler seat base allows
quick installation of video
cameras
of film with
-Gyro Platform
Water-proof, fully automatic
sea stabilizer for boats,
corrects horizontal pitch.
transfer
It
was
-
FILM & VIDEO CAMERAS
Production Services -Atlanta
EQUIPMENT RENTAL
SALES & SERVICE
404/622-1311
2000 LAKEWOOD WAY.
Isidore
Mankofsky, ASC
"Davy Crockett is a period
film," explains Mankofsky. "They
were after
something that looked
different, something that wasn't
glitzy. This goes along with the
general trend toward less contrast
and a pastel look, and the Pana-
BLDG 4. ATLANTA, GA 30315
68
FAX # 404-622-1691
lot of contrast to
I wasn't able to be there.
one
of the most
transfers I've
AVAILABLE FOR ALL MOUNTS
a
begin with. Luckily there was an
extremely good technical man at
Disney who supervised the
April 1989
ever
satisfying
had, from film to
tape to air. But I suspect that some
of that is because I took away some
of their options by giving them a
very
pastel image.
about
weather
"The other amazing thing
Davy Crockett was the
-
it
three week
was
foul. I bet we had
a
period where it rained
every day, and some
at least once
American Cinematographer - April 1989
Table of Contents for the Digital Edition of American Cinematographer - April 1989
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