American Cinematographer - July 1991 - 59

\
lem of

getting a clear horizon.
Keeping other boats and land
masses

out of the shot can

the whole

dictate

even if
you get the master shot with a clean
background, coverage can be very
difficult when you have to look in
the

day's strategy;

opposite direction.
We had three sequences to

do at sea, all of them

major

com¬

ponents of the story. The first was
the

discovery of the bodies of the

characters from the last film, adrift
in a small boat. Our island schooner

lovely old girl, about 85 feet
length, that had been sailing the
seas since 1922. Now a working
charter yacht in the islands, she had
the perfect look for our picture.
Lighting and camera
placement were the immediate
problems. Many required shots
involve actors looking out from the
ship towards a distant object. This

Ronford-Baker:
You know their legs
are great

So

how about the smooth
fluid heads?

was a

in

that somehow you must
the camera out from the ship
so that you can look back to it. Some
sort of shooting platform must be

What you're not used
to might work better

-Leople are more familiar with
the legs. But aren't the heads
worth checking out? You might
find they do a better job, too.

Ronford-Baker makes alu¬
minum tripods in three weights
and fluid heads in six sizes.
Plus all the usual accessories

means
move

rigged on the side that will accom¬
modate the camera, an assistant, an

operator, and hopefully a light.
Did I say a light? Why not
reflectors and white cards?
Reflectors do not work on a moving

use

platform. You can aim the light at
the intended target, but as soon as
the ship rolls, the light rolls up and

and

adapters. An ARRI bal¬
plate. Two sizes of quickrelease plate.
ance

The head shown here is the
Fluid 7. Seven steps of fluid

drag control, three platform
widths with spacer blocks, var¬
ious risers. 150mm or Mitchell
base. Works with cameras up
to about 80 lbs.

down with it. White cards do work
in closeups sometimes, but sail¬
boats have sails that throw large

shadows, and often there is no di¬
work with. So we are

rect sun to

back to the problem of lights.
FAY lights do work

well

larger vessels, as ship's power is
not precisely regulated for HMI
use. They are compact and easy to
rig, and their simplicity makes
on

them reliable in this hostile envi¬

They are not very effi¬
though, and use up a lot of
precious amps. Moreover, gels

ronment.

lsaiay
THE EQUI PM ENT BROKER

cient,

must be used even with dichroic
bulbs to get a high color tempera¬

ture, and gels make a lot of noise in
the wind.
Our schooner had no

power source for lights so we had
to bring our own. Due to space
limitations, that meant a 5kva

Phone: (818) 222-7404
Fax: (818) 222-7405. Toll
free: (800) 5-CAMERA
\



American Cinematographer - July 1991

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

American Cinematographer - July 1991 - 1
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