American Cinematographer - April 1993 - 93

pushing
next

so hard to get on to
that no one noticed

scene

FILMING IN EUROPE CALL

the
we

*

looking into a wall of French
doors that reflected back every per¬

were

I had to bounce

*

light up to the ceiling right by the

*

son

in the

*

seam

crew.

in the door. Then we covered

the light and the rest of the crew
with dubateen. It gave the scene a
more
was

natural, robust feeling, which

my
ties."

interpretation of the For¬

Brophy plays a sol¬
dier on leave and Sharon Mahoney

ARRIFLEX 535 - BL IVS - ARRI III
MOVIECAM SUPER AMERICA
STEADICAM

rue

SUPER PEEWEE CHAPMAN

*

FISHER

*

ZOOM ANGENIEUX-COOKE-CANON

CHCUEHEUU
20-22,

Brian

MOVIECAM COMPACT

^4*

de la Chine

Phone:33-1 47 97 23 49

-

-

75020 PARIS

-

Fax:33-1 47 97 66 58

-

-

FRANCE
Telex

:

210458 F

the wife left at home. For a scene
filled with fun and sarcasm, they
moved around and tossed lines

back and forth in

a '40s
hip-hop
style, and yet during pauses we
glimpse the thinly veiled loneliness
that permeates the moxie.
Again, Kurt helped me
translate concept into reality. "The
cinematography was dictated by
the actors' blocking. We used a lot

of camera movement to underscore
the forward movement in their re¬

lationship. But I never felt that the
camera was ever
calling attention to
itself. The performances were too
strong."
While the crew was shoot¬

ing this scene, the production de¬
signer and art director were setting
up the 1992 set, which was no easy
feat. It wasn't a matter of designing
three different sets; each room had
to be adjusted for each time era, be¬
cause no matter what time era we
were

in, the other

rooms were

storting at
Over 900° of
pan rotation
All electronic
cables routed

Aluminum

New
pan

over

slip clutches for
and tilt motors

Faster pan

New precision
focus motor
Two

/ Focus adapts

video and film lenses

lenses

J

Swiss

I

position focus
with rate

Focus

to most film

J

rate

used his "Gurney Cam." "This is
the poor man's Steadicam," he
chuckles. "It's very similar to a rig
used by the Coen Brothers in Blood

The story ends in 1992, in
the bedroom, on a hot, sweltering

construction

90CP of pan
rotation with no tangled wires
or use of unreliable slip rings
allows

vis¬

What can I say?

tubing

Unique internal head cabling

memory
control

pital on a gurney.
It works."

the head

cameras

ible in the shot.
The transition scene be¬
tween 1944 and 1992 is where Kurt

Simple. It's a piece of pine wood
with two dowels that hold the cam¬
era in place. We carry the camera as
if carrying a sick person into a hos¬

internally within

Redesigned head is lighter and
stronger for heavy film

B

Follow Focus Module

m
Zoom Rocker

f

adapts to most

u

f

Dual focus controls

Spring loaded focus
motor bracket

Built in

zoom

creeper

f

Zoom

Sensitivity

I

Focus Control

I

Memory Control
Focus Rate Control

"The

only full size
jib arm that can go

Sensitivity Switch

to the location in the
trunk of a car. "

morning. As the couple enters the
bedroom and their conversation
continues from the 1940s, they are

finally able to articulate the differ¬
ence

between the male and female.

Stanton Video Services Inc
2902 E. Charleston Ave.

Phoenix, Arizona 85032
Ph

Fax

(602)224-6162
(602)493-2468

91
American Cinematographer - April 1993

Table of Contents for the Digital Edition of American Cinematographer - April 1993
