American Cinematographer - March 1991 - 30

denizens they
believe are in,
volved in plots
,

,

.

,

Crew sets up for
exterior in the

California sunshine.

United States government. When
DeNiro's character begins to testify,

however, he refuses to comment on
the activities of others.

Versatile, low-cost,

lightweight, wide-angle
lens attachments for your

ENG/EFP video zoom lenses.
* Front-mounted Wide Eye I & II readily con¬
vert most video zoom lenses into ultra wide-

angle fixed focal-length lenses with no loss
in light transmittance.

nor¬

DeNiro felt it was best for
him and if he feels that way, we
have the capability to do it."
To accomplish this, Ballhaus
determined which angles he
needed to get full coverage, then
scenes.

positioned himself in a booth on
the set from which point he could
direct the four camera operators via
a radio mic and earphones. All the

make his entrance to face his in¬

widest angle of the
zoom lens by about 35% with minimal distor¬
tion. Wide Eye II increases it by about 50% to
create dramatic "fish eye" effects.
For example, Wide Eye I converts the widest
angle in Fujinon 9-126mm and Canon 9-

quisitors.
As originally conceived by
Winkler and Ballhaus, the scene

time," he remembered, "we had to

optical glass with multi¬

zoom lenses into an effective fixed
focal length of 5.7mm; Wide Eye II converts
it into 4.6mm.

117mm

Easily attached to most professional ENG/
EFP

zoom

lenses which feature macro and/or

adjustable back-focusing capabilities.

*

huge, wood
paneled room with high ceilings,
which production designer Leslie
Dilley (nominated for a 1989
Academy Award for The Abyss) has
transformed into a replica of
smoke-filled 1950's hearing rooms
in Washington D.C. Hundreds of
extras in period costumes mill
around, waiting for DeNiro to
a

feature film

ple high-efficiency anti-reflective coatings.
* Wide Eye I increases the

*

The set itself is

a

mally, especially not for acting

moving and zoom¬
ing, giving Ballhaus the ability to
cover 20 different angles on DeNiro
in only four takes. The entire 15
page scene was shot in two days.

* Made of high-quality

*

with four cameras, simply on

him, to cover the whole setting.You
do that on rock concerts, but you
don't do that in

the

against

scene

Ruggedly constructed. Wide Eye I & II are
supplied in black anodized ring mounts.

Supplied with heavy-duty, padded carrying
pouches featuring convenient Velcro closure
and belt loops.

screw-lock)

* Available in either slip-on (with
or threaded screw-in models.
Rental

*

Sales

*

Service

Film/Video

would

Denver, CO 80233

*

(303) 778-8616

in

several

piece is like round one, where they
approach each other - it's not so

"In

a

short amount of

up with almost 70 possible
angles that covered this scene, and
figure out at the same time when
come

we

wanted to do what. Because we

rehearsing I had the four
earphones, and while
we were
doing the take, I was talk¬
ing to them. Maybe 'Camera A, go

were

not

cameras on

heavy. And then they land the first
punch...' We talked about all that,

in a little closer, Camera B, zoom in

and then Irwin talked to DeNiro,
and Bob said it would be really

front of me, and I was

important to do the whole scene
almost in one, to get the best per¬
formance.
"So

we

wanted.Therefore,

March 1991

slightly.' I had four monitors in
trying to ar¬
range all the possible angles. I think
we
got some really good stuff."
Ballhaus's crew consists of

operator David Dunlap, who has
had to

change our
concept, and still accomplish all the
different
angles
that we

Equipment
*

shot

Ballhaus recalled. "We had differ¬
ent rounds. We said 'okay, this

Service Co.
800 So. Jason St.

be

sequences/'Because the scene is 15
minutes long, we wanted to treat it
a little bit like a boxing fight,"

cameras were

we

shot the

worked with the cinematographer
for seven years, and gaffer Jim

Tynes, a veteran of four Ballhaus
pictures, along with key grip Ault,
American Cinematographer - March 1991

Table of Contents for the Digital Edition of American Cinematographer - March 1991
