American Cinematographer - November 1991 - 44

cranes were

for another

recabled and elevated
scene that was com¬

pleted before

sunup. A portion of
dream sequence with Claire in¬
volved similar scale. The shot was
a

to

represent her subjective view as

she descends from the

sky and
frantically scans the residential
neighborhood for her childhood
home, while a police helicopter
follows her with a bright, menacing
searchlight. To light almost four
city blocks, six 12K HMIs and four
4K HMIs were selectively placed at
or near ground level. The HMIs
were further
augmented with some

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tungsten

incandescent

beamed

units,

through full grid cloth to edge out
houses, garages and driveways and
to backlight trees. Three electrical
generators were needed to supply
power to the lighting units.
The
camera was

Panavision Gold
elevated 30 feet on a

battery powered Titan crane. As the
shot progressed, the crane traveled
forward a city block. The camera
descended and swept left to right
and back again, as if seeking out
one house in particular.
Finally, it
pivoted into a closeup of an empty
porch.
To simulate the Xenon

searchlight of

a police helicopter,
the beam of a 12K HMI, lifted 115
feet up by a "Big Stick" construc¬
tion crane, panned with the motion
of the camera and kept a hard spot
of light on the ground ahead. The
shot took some six hours to as¬
semble and rehearse and almost ten

takes to

perfect.
A daylight shot, less com¬
plex but every bit as grandiose,
fittingly concluded the production
as well as the
story. "At first you
don't know what the characters are

looking at," Roizman relates. "You
see their faces, with
big contented
smiles. The view is from way out in
front of them. The camera, as it
faces the actors, is actually hanging
out in space, but you don't know
that - the audience still doesn't
realize where the characters are.
Then the camera swirls up and over
and behind them until we see what

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PRODUCTION
CONSULTANTS
& EQUIPMENT
American Cinematographer - November 1991

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