American Cinematographer - December 1992 - 94

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before an audience of 200, uses four cam¬
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bor on the west-of-the-West Side, Na¬
tional Video, is busy too. Editor Glenn
Lazzaro created the look for VH-1's
"Menu" promos in collaboration with VH-1

producer Bonnie Siegler. Split-screen
menus urge viewers, through eclectic com¬
binations of images and type, to tune in to
VH-1. To supplement a variety of video im¬
ages from the VH-1 library, Lazzaro acted on
intuition and shot additional footage in
National's Edit Suite G using a handheld
Bolex 16mm camera. As a result, funky
POVs, animations and eye and hand closeups are peppered throughout the promo,
compelling even jaded viewers to pay atten¬
tion to the

Lose excess

baggage in

What Do Bad Movies
and

Empty Mailboxes

Have in Common?
The staff at American

Cinematographer hates
to see

either. Here at the

magazine, we take two
things very seriously:
cinema and
ers.

our

subscrib¬

If you ever have a

problem with the deliv¬
ery of your monthly
copy, please let us know.
Just call Flo in

circulation

our

department at

(213) 969-4391
to us at

write
P.O. Box 2230,
or

Hollywood, CA 90078.
Since 1979, the Northwest's only full-service
camera rental house has supplied the best

equipment, from Arriflex to Zeiss. The best
service and support. And the best maintenance
between here and L.A.

Phone: 206 467-8666
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and do
can

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We'll correct the situa¬
tion as soon as possible

Fax: 206 467-9165

everything

prevent future

slip-ups. Bad movies,

unfortunately, are
beyond our control.

screen.

National is the home of

Emmy Award-winning designer Cliff
Moorhead, who designed and animated a
series of phantasmagoric images for the onair launch of the hotly anticipated new cable
network, The Sci Fi Channel. To promote
the new network, on-air images playing in
a continuous loop on cable stations across
the country display cryptic messages, psy¬
chedelic images and classic literary quotes.
"The entire production is designed as a

transmission from another

galaxy," says
writer/producer Alan Spero. Moorhead
worked on the Digital F/X Composium to
create mindblowing layers of video images,
floating eyes, alien alphabets, starfields,
hypnotic swirling galaxies and spaceship
cockpits and control panels. ♦ Telezign,
National's computer animation/design
house, created a Wheel of Fortune open
with Grand Character Animation. Mark
Hoffman, associate creative director, ad¬
mits that he was influenced by the Golden

Age of Hollywood in his design concept. The
open, one of the first to use 3-D character
animation, was produced by Dana
Maresca and overseen by creative direc¬
tor Robb

Wyatt.

▲

American Cinematographer - December 1992

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