American Cinematographer - June 1991 - 74
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then marrying that up through
video assist.
"The pass-through has al¬
ways
been done blue
screen, so
far/' relates Dorney. "There are
other ways of doing it, and actually
there'a another show on television
^
*
*
that does something similar
using rotoscope. The problem with
rotoscope is that to be effective, the
now
*
*
*
*
Dinky Dolly
aiangordon enterprises me.
1430 Cahuenga Blvd, Hollywood, CA 90028
Tel: (213) 466-3561 * Fax 213-871-2193
Leonard
STUDIO EQUIPMENT
shot has to be short. Otherwise you
starts to see the drawing, no matter
how good the work is. Hence we
use blue screen, which also gives
you a little more flexibility further
down the line. The audience seems
to like the effects, so we try to
stretch them to about four or five
seconds.
"We have a setup that we
over at Universal," Dorney
continues. "Quantum Leap has a
keep
stage and half allocated, and we just
have a screen that we keep hung up
ELECTRIC * MOBILE
TIME SAVING
CAMERA CRANES
there, draped. Then we have some
screen lights -
fluorescents that Apogee came up
with - that we have stored, and
special blue
floor lighting that is shuttled
around. We can just go over there
and be up in an hour or so.
"Sometimes the director is
some
AND DOLLIES
there and sometimes he's not, but
Dean Stockwell is usually the per¬
son on the blue screen, and of
course he kind of directs himself.
I'm out there as a technical director
as much as
anything else - I keep
us all out of trouble. Michael is
sometimes there, and if not he's
SUPER NOVA
TITAN
APOLLO
OLYMPIAN
ZEUS
NIKE
ELECTRA
SIDEWINDER
HYBRID
HUSTLER
PEEWEE
usually on the stage next door. We
bounce things off him to ensure
continuity. In my mind, the director
of photography is the one bit of
continuity all the way through the
show," Dorney opines.
Watkins takes great care in
the pass-through and other effects
scenes, knowing their importance
to the show. "I use the same camera
Call
us
for
a
demonstration
and lenses to shoot the blue screen
and the plates," reveals Watkins.
"The pass-through stuff is a real
mathematical thing, and lighting
those can be a little bit tricky. We try
to include elements which con¬
tribute to the believablility -
sound and angles, anything that
helps. We put the blue screen lights
72
STUDIO EQUIPMENT
(213) 877-5309
(818) 764-6726
FAX: (818) 764-2728
between 8000 and 9000 degrees
Kelvin. Then we take the 96 and we
American Cinematographer - June 1991
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American Cinematographer - June 1991 - 1
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