American Cinematographer - October 1990 - 32

Our
new

15'

Sonic

1
T

Booms
will
never

leave
yon
short!
The newly-engineered
Sonic Plus Series of tele¬

scoping mic booms
combine all the features
critical to professional
audio production.
The Sonic ENG, Sonic
412 and Sonic 415 are all

Above: A

lyn Fenn. Right: A
colorful yet intimate
scene

4-section, black anodized

scanning the
dailies,

are

able.

Morgan,
though no fan
of brilliantly il1

u m

i

n a

faces,

The ENG model is
cable

ready. You can
easily disassemble all
sections without tools for
field cleaning and mainte¬
nance. The real plus is the
choice of longer extended
reach from a more com¬

pact, lightweight size to

specific needs:

e

d

jection by light¬
ing his princi¬
pals unobtrusively from below.
He

particularly
pleased by the New Orleans Club
sequence, staged in a former
church now used as a shopping
mall and dining/reception hall. In
preparation for this particular
was

shoot, the art director, James Al¬
len, sent a request to the Warner

Left to Right:
Sonic 415 telescopes 4' to

15', use for features and

Bros, studio in Burbank for an as¬
sortment of plastic palm trees.
Upon arrival, these were sprayed

commercials,

weighs only 8 lbs... $239.00
Sonic 412 mid-range,
telescopes 3.5' to 12', for
general production use,
weighs only 6lbs... $229.00
Sonic ENG compact
telescopes 26" to 7', use
for ENG/documentaries,
weighs only 3 lbs... $119.00

gold and outlined with neon.
More neon spears, executed by a
local artist, helped to give picto¬
rial definition to the setup. Fi¬

nally, hundreds of lighting fix¬
tures were placed, aimed straight
up,

aiangonion

beneath the frosted plastic on

which

a

would

soon

bevy of dancing girls
be frolicking.

In the meantime,

enterprises me.

the

gangsters and their girlfriends,

Boulevard

TEL:
30

t

coun¬

tered this ob¬

uncabled, but pre-drilled

Hollywood, CA 90028
(213) 466-3561
FAX: (213) 871-2193

apt

to find intoler¬

dampened Canare cable
and Neutrik XLR goldplated connectors.

1430 Cahuenga

in the diner.

tives, anxiously

aluminum booms with
standard 3/8" mic studs
and fast-action twist
locks. We've internally
cabled the 412 and 415
models with foam-

fit your

stylish

Harmon with Sheri-

>

October 1990

seated

nearby, were being lit with
larger-than-usual tungsten bulbs
screwed into the lamps on their
tables. The result, production
stills confirmed, was truly of fea¬
ture-film quality, giving a warm
radiance to the faces without

making them

appear overly illu¬
minated.
"I try to hang most of my
lights so they're not on the set,"

Morgan explains. "Larry Caster,
the gaffer, and I play a lot with
hiding lights. Larry has a lot of
little gag lights made up. In one of
the bank scenes, for instance, we
had a daylight-corrected fluores¬
cent under every

glow

on

teller, to put

their faces

a

as we went

by."
Among the few
sions

conces¬

Morgan and Wainwright

made to the television medium
American Cinematographer - October 1990

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