American Cinematographer - September 1992 - 69
that doing so would cause the
blacks to become too grainy on the
big screen. "There was nothing ex¬
cept the white light up against the
black; there wasn't a wide enough
contrast balance to take away from
the grain/' he recalls.
In order to
reassure
him¬
self, Garcia shot two 50-foot test
rolls with the
negative - one
one normal. He then
of a computer system
pushed and
made use
that he's developed for just such an
emergency. "I put the two pieces of
negative on my analyzer, put 'em
through my computer, blew it up
on the screen and then literally
counted the pixels," he says. "I
found that by printing up the new
Fuji 500 I didn't need to push it. I
could see more detail in the normal
processed film than I thought I
would. It's really a fine-grain film
that they've developed." The ex¬
periment was a resounding suc¬
cess; the scene's spectacularly crisp
blacks are sure to impress even the
most discerning viewer.
In addition to the
500,
Garcia wound up
using four other
Fuji stocks: the ASA 64 daylight
and
tungsten, and the 250 ASA
daylight and tungsten. All told,
Garcia and his cohorts shot half a
million feet of film, at a pace that
made him appreciate his experi¬
ences with episodic TV. "We were
the
pocket pal™
ule; we were doing twenty to thirty
setups per day!" he says. "I used the
programs are now
available for the
tools of my
episodic experience,
especially in regard to exteriors.
You basically try to get people in
backlight, expose for the shadow,
throw in a little fill and boogie. You
get a better look that way than if
you just try to pump a whole bunch
of light in and balance things out."
Garcia pauses for a mo¬
ment before offering a wry smile
and a Bergmanesque capper: "Ba¬
sically, I go in with a vision of the
SHARP WIZARD.
Twenty routines
cover all framing,
depth of
field,
exposure,
timecode, diopter
and
Documented in
100 page
check out what God's going
give me that day and then play
chess with Him. Sometimes I win
A
SOLAR
PREDICTIONS.
scene,
and sometimes I don't."
with unique
computer software
designed to assist
professional
cinematographers,
the pocket pal™
up north for four weeks at the most,
and we were on an episodic sched¬
to
^
FREE
gets GIL SMITH out of a hole.
for further information CALL
a
manual.
upgrade
policy.
OlkSH
(213) 461-3518
an
IK0N°(jRAPNIC5 publication
HOLLYWOOD, CALIFORNIA
American Cinematographer - September 1992
Table of Contents for the Digital Edition of American Cinematographer - September 1992
American Cinematographer - September 1992 - 1
American Cinematographer - September 1992 - 2
American Cinematographer - September 1992 - 3
American Cinematographer - September 1992 - 4
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American Cinematographer - September 1992 - 103
American Cinematographer - September 1992 - 104
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