American Cinematographer - September 1992 - 78

Single Frame Motor &

baby's downtown romp, Hora
found himself recreating the "Ve¬
gas look" on the Disney stages with
the help of a rear-projection screen.
He explained, "Because the kids
were so young, we had to do
every¬
thing reversed; we were always
rewriting the script and then backmatching to what they'd done.
Normally, you'd go to Las Vegas
and shoot the crowd reacting and
then have the character put in and

Intervalometer for Arri 16 SR

*

12 to 24 VDC power.

*

Crystal shutter speeds - 1/16
Intervals from 1 fps to 60 hrs.

*

*

*

*

sec. to over

Burst feature 1-15 frames per
LED frame counter.

Foreword/reverse

8 min. time exposure

pulse.

operations.

ALSO SYSTEMS FOR: Aaton, Arri S&M, Arri

35IIC, Arri 35III, Bolex Rex 4 & 5, Eclair ACL,
Mitchell 16mm, Mitchell S35R MKII, Mitchell 35
HS, Mitchell BNC, AP65mm, Imax, Vistavision

ORRIS
LM

1014 Green Lane
,

*

PRODUCT

match the action to what the crowd
did. This scene was originally go¬

La Canada, California 9101

Phone: 818-790-1907

Fax:

THE NEW

Powerful Enough
to Light a
Car Interior!
Small Enough to
Hide in the Palm
of Your Hand!
*

Fluorescent

*

Color Correct 32 K, 55 K
Dimmable

*

Lighting

*

Flicker-Free

*

12 VDC/120 VAC

ing to be very simple; the kid was
supposed to pick up a car and put
it down on the extended leg of a
neon
cowgirl. But when we went to
shoot it, he picked up the car,
swung it through the air, put it in
his mouth, bit it, broke off the mir¬
ror and then threw it down. We
decided to leave it that way, so we
had to match all of the flying stuff!"
In order to effectively
mimic the child's actions, Hora shot
the background plate footage with

swinging cable rig. Back at the
soundstage, a car was placed on a
swiveling mount in front of the pro¬
jected images. "For lighting, we're
trying to imitate the colors that
would be coming from the neon
signs, so we have lights of different
a

KINO FLO

We're not just

Lions and

Tigers and Bears.

colors and color wheels," he said.
"I'm also using one of my favorite

things-a hanging mirrored 'disco
ball.' When we shoot lights into it,
it sends out little dots that look like

lights passing by. I find a use for
that in every film I do, so I guess I
should buy my own."
While Hora spoke, actors
Robert Oliveri and Keri Russell
climbed up into the car rig for an¬

other take. As the

plate projector

rolled, the lights swirled, and

Oh My ! The National Geographic Film Library
has much

than just great

wildlife footage.
subjects as varied as
the world itself. It's all here, with price and service
that won't have you searching high and low. So,
stop looking and start looking good. Call today
more

10 Million feet

for

a

more.

On

NATIONAL GEOGRAPHIC
FILM LIBRARY
1600 M Street, N.W.
Washington, D.C. 20036
Fax 202.429*5755

©Photos (l-r): Lex Hes, Belinda

Wright / Stanley Breeden and
Stephen Krasemann / DRK
1989 National
76

directing cues
a megaphone, Hora of¬
fered the Po-faced observation of a
seasoned Hollywood professional.
"All of this," he concluded, sweep¬
through

ing his hand past the rear-projec¬
setup, "resulted from the ac¬

tion

tions of

demo reel.

202.857.7659

Kleiser shouted his

Geographic Society

one

small kid. The whole

thing is a classic example of the tail
wagging the dog. It would be a dif¬
ferent story if we were working
with five-year-olds, but these are
two-year-olds. And the 'terrible
twos' are no myth!"
A
American Cinematographer - September 1992

Table of Contents for the Digital Edition of American Cinematographer - September 1992
