American Cinematographer - September 1991 - 105

FILMING IN EUROPE CALL

While

looking for addi¬
tional ways to trim the post budget,
Raich toyed with the idea of not
using Dolby stereo sound. "Many
times

vacillated

whether

keep the Dolby and, ulti¬
mately, we decided horror pictures
need that extra sound quality," says
Raich. "The audience needs to hear
and feel the sounds of someone

walking behind them."
By the first week in July,
Cabral was given the finished
music track and spent the next ten
days combining the dialogue, ef¬
fects, foley and music elements into
final masters (one 6-track and one

rue

STEADICAM
SUPER

PEEWEE CHAPMAN

FISHER

ZOOM ANGENIEUX

COOKE

were

75020 PARIS

Fax

master. The master was

make

$1999.00
(Special Offer)

through a Dolby matrixing system
2-track magnetic print

to create a

used to

optical negative and then
a
positive print, which was even¬
tually married to the answer print.
"If people only knew how
much work went into making a
picture's sound, they would be far
more
appreciative of the time and
money involved in producing that
sound," says Cabral.

Telex

210458 F

Mounts any 100 to 150mm pan
Elevates camera to 9ft

head

100 lb

camera capacity
Weighs only 36lbs

Vertical and Horizontal brakes

Breaks down to 39 inches

Includes monitor platform and

integral bubble level

Matrix CEO Darian

CANON

FRANCE

33-1 47 97 66 58

jimmy Jib Junior

recorded

de la Chine

Phone:33-1 47 97 23 49

4-track). These

ARRI III

CHEUEREBU
20-22,

MOVIECAM SUPER AMERICA

not to

ARRIFLEX BL IV S

Can be EXTENDED up to 18ft
in

Stanton Video Services
Ph: 602-224-6162
Fax:

602-493-2468

length

And the most important feature
of all, is the Junior's ability to
be upgraded from a simple
front operated mini jib arm, to
a

fully REMOTE CONTROLLED

camera

boom.

sums

things up. "So much of sound
mixing is like a magician's sleight
of hand. If we've done our job right,
the audience won't consciously be
aware that we did anything."
A

LONDON INTERNATIONAL FILM SCHOOL

Watch

upcoming issues of American
Cinematographer for stories on the
photography of tomorrow's classics:
Bugsy
Allen Daviau, ASC

Cape Fear
Freddie Francis, BSC
Radio

Flyer

Laszlo Kovacs, ASC
The Final Analysis

Jordan Cronenweth, ASC
Hook
Dean Cundey, ASC
Billy Bathgate

Nestor Almendros, ASC
Memoirs of

Invisible Man

William Fraker, ASC
Newsies

Andrew Laszlo, ASC
Basic Instinct

Jan DeBont, ASC
Far and

Away (The Irish Story)

Mikael Salomon, ASC

Hollywood,

Athens, Tokyo, Lagos, Rio, Tel-Aviv, Reykjavik, Sydney, Toronto,
- just some of the centres worldwide where our graduates are

Geneva, Hong Kong, London

making films.
Students from over thirty different
take our two year Diploma Course.

making

countries come to the heart of London's West End to
Experienced professionals teach all aspects of film
covering studio feature and location documentary productions in 16mm and

35mm.

Teaching of scriptwriting, direction, camerawork, sound recording, editing etc. ensures a
high degree of professionalism. And it must do - Governments, T.V. Networks and
Educational Foundations have been sending personnel to us for training for over twenty
years.

This intensive Course, demanding hard work and committment, produces over twentyfive films each term
many students working on more than one production.
There are fresh intakes in January, April and September.
-

Contact: The Administrator, London International Film School,

24 Shelton

Department AC2
Street, London WC2H 9HP, England. Telephone (London) 01-836 0826
99

American Cinematographer - September 1991

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