American Cinematographer - March 1990 - 31
\
In The
Magic Balloon,
there is
ver
a scene shot at The Cul¬
Studios in Los Angeles, on a
big set replicating a dungeon.
Cardiff was working at stop T-5.6
with a 200 slide in his photome¬
ter.
"That's about three times the
light I would need if this
was a
conventional 35mm film," he
said. "Because the screen is so
big, you always want to have
sharp depth of field on a Showscan
film."
This is
an
adventure
film, with two leads played by
children who use magic to follow
their whims and travel around
the world. Though one scene was
shot in a dungeon, Cardiff didn't
want it to feel threatening. Illumi¬
nation came from candles and
lanterns, so he set his lights to
augment those sources. The big¬
gest unit was a 5K, and Cardiff
used blue and yellow gels to cre¬
ate the
atmosphere he wanted.
The CP65
camera
was
on
a
Chapman crane, tracking freely
through the set.
The Magic Balloon was
directed by Ronald Neame, who
was once an
outstanding director
of photography in England, and
a
long-term associate of Cardiff.
Watching them work together
was a little like
seeing an intricate
dance, as they made subtle ad¬
justments while barely exchang¬
ing words.
"Because of the big
Showscan screen, we are cautious
about coming in extremely close
for tight shots," Cardiff ex¬
plained. "You
can
hang back
a
little, fill the frame with a 50mm
or an 80mm shot, and still have
all of the impact of a closer shot
because the audience can see
everything in such great detail.
You can come in tight, but you do
it selectively," Cardiff explained.
"One thing that helps is
the new Eastman EXR 5296 film,
which we are using on this
movie," he continued. "It has the
ability to go right into the shad¬
and pick up details without
ows
my
having to throw fill light into
those areas."
Cardiff shot Call From
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American Cinematographer - March 1990
Table of Contents for the Digital Edition of American Cinematographer - March 1990
American Cinematographer - March 1990 - 1
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