American Cinematographer - June 1991 - 72
The Solution
to a Common
Battery Problem
CADEX C-2000
dancers, and the
room was
filled
with mirrors. It was very nice.
"Another thing I'm proud
of is the handheld work that we do.
Steve Peterson and I have been
doing handheld for 19 years. A re¬
late 70s, Kissrock'n'roll motif, and we shot a
cent show featured a
era
concert sequence at
the Long Beach
Civic Auditorium. We did a lot of
handheld there, and they're putting
three of those songs on MTV.
"In the episode about Viet
Nam,
we
handheld 99% of the
show. We handheld a 250mm lens,
did all the action, running along
NOW FOR NP1/NP1-1MCADS
Designed and manufactured in Canada, the CADEX
C2000 is a state-of-the-art battery analyzer that solves
the common NiCd problems of unreliable service,
progressive loss of performance and short life. Ailing
batteries are rejuvenated automatically; maintenance is
performed quickly and accurately.
*
*
*
of the show, as the characters
are
Doubles as efficient fast-changer
Rejuvenates weak batteries by unique recondition method
Verifies battery condition to support warranty claims
Profitable - Extends battery life; minimizes down time
Necessary - Assures a high level of confidence in rechargeable batteries
(Call or fax for the dealer nearest you)
often on television and in features.
Watkins' description helps explain
-
Multi-use
Effective
*
Beneficial
*
max
High Throughput * Analyzes four batteries simultaneously
Flexible Features individual program setting for each battery
*
*
with a Panaflex on my shoulder -
with a video tap. It was arduous.
There were two shots in that show
that were not handheld - one of
which is one of my favorite shots."
The shot comes at the cli¬
-
-
-
MILLER TRIPODS CANADA
1055 Granville Street, Vancouver, B.C. Canada V6Z 1L4
Phone: (604) 685-5331
Fax: (604) 685-5648
running towards the waiting
helicopter. It's a shot we've seen
why cinematography is such an
important part of Quantum Leap
despite the tough schedules.
"We used
a
400mm lens,
real late day, and we ran up to
about 36 fps. You see reeds and tall
everything sitting there ab¬
solutely perfect, with that softness
as it moves. Then abruptly you hear
fire-all you hear is the BAM BAM
BAM BAM going off -and they
come running into the frame, just a
little overcranked. Suddenly, the
reeds in front of us just lie down,
horizontal, and the helicopter
lands. We're looking straight
through the door, and the guy is
blasting away with his gun. You
can see the shell casings ejecting, a
little bit off speed. The characters
come running right into a head
shot, and the helicopter lifts up and
grass,
SHOOT IN
MANILA!
We
provide EQUIPMENT & CREW
for MOVIES & TV
COMMERCIALS
ARRIFLEX BL 4 & 35 III
ZEISS T1.3
Color Video Assist
Zoom: 17 -102, 25-250 HR, 150-600
Super PANTHER dolly, Super Jib Arm
,
STEAD ICAM,
flickerfree HMI'S, Periscope,
Helimount vib. free, Intervalometer,
Photosonic 500 FPS Hi speed cam.,
ARRI
Cranes, Crystal Generators, Fog, grip,
STEENBECK, Studio: 56'x80,x30'& more.
VTR'S,IKEGAMI video cameras,
RANKCINTEL*,time code, ULTIMATTE,
DVE, ADO, SNG*, Video projector,
3D Computer Graphics & Animation,
6 cam. OB Van Equipment & more!
SONY
♦Referral
R.S. VIDEO & FILM
Oli
Laperal, Jr.
Salamin Bldg. 197 Salcedo St., L.V.
P.O. Box 973 Makati', Philippines
.
rolls off, and we follow it out.
"Focus was not a problem
and that's the gift of having a
-
guy like Steve Peterson. We laid a
lot of white board down, and we hit
gold reflectors, let the sun do
just walked
away from it. I was probably
working at around a 4 or a 5 stop,
some
a
lot of hits, and we
with the 45 film, rated at around
bit of star effect, from the sheen
the grass.
of
"It's a treasure of a shot for
me,
and how we got it at sunset and
everything makes it even more
amazing. The chopper landed 20
feet from us, and he just came in out
of nowhere. It's a real dramatic
scene."
A big part of the show's
success is the special effects se¬
quences which draw the audience
into the suspension of disbelief. The
titles and straight opticals for
Quantum Leap are done by Howard
Anderson
Company, but the sig¬
"leaps" and other work are
handled by Apogee, Inc. Certain
episodes call for more effects work,
but each show requires Stockwell's
entry through the white door, his
appearance in the show as a "ho¬
lographic image," and Bakula's
leap in and leap out. Apogee's part
of the leaps usually comes in dur¬
ing post production, the visuals
being done with traditional ani¬
mation, and then optically com¬
bined on film. The "holographic
image" is accomplished mainly
through blue screen techniques.
Roger Domey supervised
the optical department at Apogee
nature
for twelve and
a
half years, con¬
tributing his talents to innumerable
productions of every size and
scope. When he became effects su¬
pervisor for Apogee's work on
Quantum Leap, he found less and
less time to contribute to other
projects. "The show is very timeconsuming," he says, "mostly be¬
cause
everything has to happen in
a
very short period. It's a lot of fun,
but it's not a half-time job."
Dorney and Apogee's
producer Denny Kelly get involved
from the start of each episode, at the
preproduction stage. "They start by
laying out what they want to do for
a particular show. Television
being
what it is, sometimes the scripts are
still wet when I get them. We talk
with the director about ways of
accomplishing that, maybe give
them some suggestions, and then
choose the way that's right in terms
of the story and the budget. Once
production starts, we're out there
100. The
supervising the plate shoot - the
I
blue
even
Tel. 632-816-3737, Fax 632-816-0090
June 1991
light was not a problem -
had nets on, to get the little
screen
backgrounds
-
and
American Cinematographer - June 1991
Table of Contents for the Digital Edition of American Cinematographer - June 1991
American Cinematographer - June 1991 - 1
American Cinematographer - June 1991 - 2
American Cinematographer - June 1991 - 3
American Cinematographer - June 1991 - 4
American Cinematographer - June 1991 - 5
American Cinematographer - June 1991 - 6
American Cinematographer - June 1991 - 7
American Cinematographer - June 1991 - 8
American Cinematographer - June 1991 - 9
American Cinematographer - June 1991 - 10
American Cinematographer - June 1991 - 11
American Cinematographer - June 1991 - 12
American Cinematographer - June 1991 - 13
American Cinematographer - June 1991 - 14
American Cinematographer - June 1991 - 15
American Cinematographer - June 1991 - 16
American Cinematographer - June 1991 - 17
American Cinematographer - June 1991 - 18
American Cinematographer - June 1991 - 19
American Cinematographer - June 1991 - 20
American Cinematographer - June 1991 - 21
American Cinematographer - June 1991 - 22
American Cinematographer - June 1991 - 23
American Cinematographer - June 1991 - 24
American Cinematographer - June 1991 - 25
American Cinematographer - June 1991 - 26
American Cinematographer - June 1991 - 27
American Cinematographer - June 1991 - 28
American Cinematographer - June 1991 - 29
American Cinematographer - June 1991 - 30
American Cinematographer - June 1991 - 31
American Cinematographer - June 1991 - 32
American Cinematographer - June 1991 - 33
American Cinematographer - June 1991 - 34
American Cinematographer - June 1991 - 35
American Cinematographer - June 1991 - 36
American Cinematographer - June 1991 - 37
American Cinematographer - June 1991 - 38
American Cinematographer - June 1991 - 39
American Cinematographer - June 1991 - 40
American Cinematographer - June 1991 - 41
American Cinematographer - June 1991 - 42
American Cinematographer - June 1991 - 43
American Cinematographer - June 1991 - 44
American Cinematographer - June 1991 - 45
American Cinematographer - June 1991 - 46
American Cinematographer - June 1991 - 47
American Cinematographer - June 1991 - 48
American Cinematographer - June 1991 - 49
American Cinematographer - June 1991 - 50
American Cinematographer - June 1991 - 51
American Cinematographer - June 1991 - 52
American Cinematographer - June 1991 - 53
American Cinematographer - June 1991 - 54
American Cinematographer - June 1991 - 55
American Cinematographer - June 1991 - 56
American Cinematographer - June 1991 - 57
American Cinematographer - June 1991 - 58
American Cinematographer - June 1991 - 59
American Cinematographer - June 1991 - 60
American Cinematographer - June 1991 - 61
American Cinematographer - June 1991 - 62
American Cinematographer - June 1991 - 63
American Cinematographer - June 1991 - 64
American Cinematographer - June 1991 - 65
American Cinematographer - June 1991 - 66
American Cinematographer - June 1991 - 67
American Cinematographer - June 1991 - 68
American Cinematographer - June 1991 - 69
American Cinematographer - June 1991 - 70
American Cinematographer - June 1991 - 71
American Cinematographer - June 1991 - 72
American Cinematographer - June 1991 - 73
American Cinematographer - June 1991 - 74
American Cinematographer - June 1991 - 75
American Cinematographer - June 1991 - 76
American Cinematographer - June 1991 - 77
American Cinematographer - June 1991 - 78
American Cinematographer - June 1991 - 79
American Cinematographer - June 1991 - 80
American Cinematographer - June 1991 - 81
American Cinematographer - June 1991 - 82
American Cinematographer - June 1991 - 83
American Cinematographer - June 1991 - 84
American Cinematographer - June 1991 - 85
American Cinematographer - June 1991 - 86
American Cinematographer - June 1991 - 87
American Cinematographer - June 1991 - 88
American Cinematographer - June 1991 - 89
American Cinematographer - June 1991 - 90
American Cinematographer - June 1991 - 91
American Cinematographer - June 1991 - 92
American Cinematographer - June 1991 - 93
American Cinematographer - June 1991 - 94
American Cinematographer - June 1991 - 95
American Cinematographer - June 1991 - 96
American Cinematographer - June 1991 - 97
American Cinematographer - June 1991 - 98
American Cinematographer - June 1991 - 99
American Cinematographer - June 1991 - 100
American Cinematographer - June 1991 - 101
American Cinematographer - June 1991 - 102
American Cinematographer - June 1991 - 103
American Cinematographer - June 1991 - 104
American Cinematographer - June 1991 - 105
American Cinematographer - June 1991 - 106
American Cinematographer - June 1991 - 107
American Cinematographer - June 1991 - 108
American Cinematographer - June 1991 - 109
American Cinematographer - June 1991 - 110
American Cinematographer - June 1991 - 111
American Cinematographer - June 1991 - 112
https://www.nxtbook.com/nxtbooks/ac/ac199912
https://www.nxtbook.com/nxtbooks/ac/ac199911
https://www.nxtbook.com/nxtbooks/ac/ac199910
https://www.nxtbook.com/nxtbooks/ac/ac199909
https://www.nxtbook.com/nxtbooks/ac/ac199908
https://www.nxtbook.com/nxtbooks/ac/ac199907
https://www.nxtbook.com/nxtbooks/ac/ac199906
https://www.nxtbook.com/nxtbooks/ac/ac199905
https://www.nxtbook.com/nxtbooks/ac/ac199904
https://www.nxtbook.com/nxtbooks/ac/ac199903
https://www.nxtbook.com/nxtbooks/ac/ac199902
https://www.nxtbook.com/nxtbooks/ac/ac199901
https://www.nxtbook.com/nxtbooks/ac/ac199812
https://www.nxtbook.com/nxtbooks/ac/ac199811
https://www.nxtbook.com/nxtbooks/ac/ac199810
https://www.nxtbook.com/nxtbooks/ac/ac199809
https://www.nxtbook.com/nxtbooks/ac/ac199808
https://www.nxtbook.com/nxtbooks/ac/ac199807
https://www.nxtbook.com/nxtbooks/ac/ac199806
https://www.nxtbook.com/nxtbooks/ac/ac199805
https://www.nxtbook.com/nxtbooks/ac/ac199804
https://www.nxtbook.com/nxtbooks/ac/ac199803
https://www.nxtbook.com/nxtbooks/ac/ac199802
https://www.nxtbook.com/nxtbooks/ac/ac199801
https://www.nxtbook.com/nxtbooks/ac/ac199712
https://www.nxtbook.com/nxtbooks/ac/ac199711
https://www.nxtbook.com/nxtbooks/ac/ac199710
https://www.nxtbook.com/nxtbooks/ac/ac199709
https://www.nxtbook.com/nxtbooks/ac/ac199708
https://www.nxtbook.com/nxtbooks/ac/ac199707
https://www.nxtbook.com/nxtbooks/ac/ac199706
https://www.nxtbook.com/nxtbooks/ac/ac199705
https://www.nxtbook.com/nxtbooks/ac/ac199704
https://www.nxtbook.com/nxtbooks/ac/ac199703
https://www.nxtbook.com/nxtbooks/ac/ac199702
https://www.nxtbook.com/nxtbooks/ac/ac199701
https://www.nxtbook.com/nxtbooks/ac/ac199612
https://www.nxtbook.com/nxtbooks/ac/ac199611
https://www.nxtbook.com/nxtbooks/ac/ac199610
https://www.nxtbook.com/nxtbooks/ac/ac199609
https://www.nxtbook.com/nxtbooks/ac/ac199608
https://www.nxtbook.com/nxtbooks/ac/ac199607
https://www.nxtbook.com/nxtbooks/ac/ac199606
https://www.nxtbook.com/nxtbooks/ac/ac199605
https://www.nxtbook.com/nxtbooks/ac/ac199604
https://www.nxtbook.com/nxtbooks/ac/ac199603
https://www.nxtbook.com/nxtbooks/ac/ac199602
https://www.nxtbook.com/nxtbooks/ac/ac199601
https://www.nxtbook.com/nxtbooks/ac/ac199512
https://www.nxtbook.com/nxtbooks/ac/ac199511
https://www.nxtbook.com/nxtbooks/ac/ac199510
https://www.nxtbook.com/nxtbooks/ac/ac199509
https://www.nxtbook.com/nxtbooks/ac/ac199508
https://www.nxtbook.com/nxtbooks/ac/ac199507
https://www.nxtbook.com/nxtbooks/ac/ac199506
https://www.nxtbook.com/nxtbooks/ac/ac199505
https://www.nxtbook.com/nxtbooks/ac/ac199504
https://www.nxtbook.com/nxtbooks/ac/ac199503
https://www.nxtbook.com/nxtbooks/ac/ac199502
https://www.nxtbook.com/nxtbooks/ac/ac199501
https://www.nxtbook.com/nxtbooks/ac/ac199412
https://www.nxtbook.com/nxtbooks/ac/ac199411
https://www.nxtbook.com/nxtbooks/ac/ac199410
https://www.nxtbook.com/nxtbooks/ac/ac199409
https://www.nxtbook.com/nxtbooks/ac/ac199408
https://www.nxtbook.com/nxtbooks/ac/ac199407
https://www.nxtbook.com/nxtbooks/ac/ac199406
https://www.nxtbook.com/nxtbooks/ac/ac199405
https://www.nxtbook.com/nxtbooks/ac/ac199404
https://www.nxtbook.com/nxtbooks/ac/ac199403
https://www.nxtbook.com/nxtbooks/ac/ac199402
https://www.nxtbook.com/nxtbooks/ac/ac199401
https://www.nxtbook.com/nxtbooks/ac/ac199312
https://www.nxtbook.com/nxtbooks/ac/ac199311
https://www.nxtbook.com/nxtbooks/ac/ac199310
https://www.nxtbook.com/nxtbooks/ac/ac199309
https://www.nxtbook.com/nxtbooks/ac/ac199308
https://www.nxtbook.com/nxtbooks/ac/ac199307
https://www.nxtbook.com/nxtbooks/ac/ac199306
https://www.nxtbook.com/nxtbooks/ac/ac199305
https://www.nxtbook.com/nxtbooks/ac/ac199304
https://www.nxtbook.com/nxtbooks/ac/ac199303
https://www.nxtbook.com/nxtbooks/ac/ac199302
https://www.nxtbook.com/nxtbooks/ac/ac199301
https://www.nxtbook.com/nxtbooks/ac/ac199212
https://www.nxtbook.com/nxtbooks/ac/ac199211
https://www.nxtbook.com/nxtbooks/ac/ac199210
https://www.nxtbook.com/nxtbooks/ac/ac199209
https://www.nxtbook.com/nxtbooks/ac/ac199208
https://www.nxtbook.com/nxtbooks/ac/ac199207
https://www.nxtbook.com/nxtbooks/ac/ac199206
https://www.nxtbook.com/nxtbooks/ac/ac199205
https://www.nxtbook.com/nxtbooks/ac/ac199204
https://www.nxtbook.com/nxtbooks/ac/ac199203
https://www.nxtbook.com/nxtbooks/ac/ac199202
https://www.nxtbook.com/nxtbooks/ac/ac199201
https://www.nxtbook.com/nxtbooks/ac/ac199112
https://www.nxtbook.com/nxtbooks/ac/ac199111
https://www.nxtbook.com/nxtbooks/ac/ac199110
https://www.nxtbook.com/nxtbooks/ac/ac199109
https://www.nxtbook.com/nxtbooks/ac/ac199108
https://www.nxtbook.com/nxtbooks/ac/ac199107
https://www.nxtbook.com/nxtbooks/ac/ac199106
https://www.nxtbook.com/nxtbooks/ac/ac199105
https://www.nxtbook.com/nxtbooks/ac/ac199104
https://www.nxtbook.com/nxtbooks/ac/ac199103
https://www.nxtbook.com/nxtbooks/ac/ac199102
https://www.nxtbook.com/nxtbooks/ac/ac199101
https://www.nxtbook.com/nxtbooks/ac/ac199012
https://www.nxtbook.com/nxtbooks/ac/ac199011
https://www.nxtbook.com/nxtbooks/ac/ac199010
https://www.nxtbook.com/nxtbooks/ac/ac199009
https://www.nxtbook.com/nxtbooks/ac/ac199008
https://www.nxtbook.com/nxtbooks/ac/ac199007
https://www.nxtbook.com/nxtbooks/ac/ac199006
https://www.nxtbook.com/nxtbooks/ac/ac199005
https://www.nxtbook.com/nxtbooks/ac/ac199004
https://www.nxtbook.com/nxtbooks/ac/ac199003
https://www.nxtbook.com/nxtbooks/ac/ac199002
https://www.nxtbook.com/nxtbooks/ac/ac199001
https://www.nxtbookmedia.com