American Cinematographer - January 1994 - 63

movie, in Little Rock

on

election

Uj

we had to have all sorts of
credentials and pins to follow

night,

Lightworks

James and George around," says

Hegedus. "One of them was a
pin, which we
get because they
only distributed about five of
them. So we would always have
to be conning our way in and fol¬
lowing our subjects very closely."
"We became very good
at sneaking," Pennebaker agrees.
"That's a real problem in these

Secret Service
were not able to

kinds of films. You

can

think,

DIGITAL
NON-LINEAR
EDITING
for

FEATURE

Kalifomia
by Dominic Sena
by Martin Hunter

Edited

The

Beverly Hillbillies

by Penelope Spheeris
Edited by Ross Albert

Directed

Ernest Rides
Edited

don't have that kind of time."
Their working method
hewed closely to the guidelines of
cinema verite: stay unobtrusive
and capture the action as it occurs
naturally. Although one might
you

Edited

&

The Pelican Brief

be somewhat self-conscious with

Directed

midst, the film¬
report that the chaotic

nature

of their work caused the

campaign

crew

to forget about

Lookin' Italian

Edited

by Fred Schepisi
by Peter Honess

Directed

Mrs. Doubtfire
Edited

Eight
Seconds To Glory
Directed

generally
picture, while Hegedus

records sound. The former's cam¬
era of choice was the Aaton XTR.
"Once I put my eye in the finder,
the meter is there, you know
where you are with the maga¬

zine, and you never

have to re¬
your eye, which for us is a
critical consideration. I generally
used a 10-150mm Angenieux
lens, but sometimes I opted for a
wide-angle 5.6mm lens."
To capture the sound,
Hegedus employed a lightweight
move

Stellavox stereo time-code

re¬

corder. "I used it either with a
mono mike and an audio-limited

radio mike, or a stereo Neumann

microphone. The sound record¬
ing was very, very difficult on
this film because the
was

a

by John Avildsen
by Doug Seelig

Edited

by Quentin Tarentino
by Sally Menke
& Jere Huggins

Edited

The Color Of Night
Directed
Edited

by Richard Rush
by Jack Hofstra

Dominick's Castle
by Haze Coleman
by Lynn Stevenson

Directed
Edited

Summer Camp

by Charles Haid
by Andrew Doerfer

Directed
Edited

by Jan De Bont
by John Wright

Pulp Fiction

Iron Will

Pennebaker

handles

by Chris Columbus
by Raja Gosnell

Directed

Speed

Directed

their

guests in a hurry. "The
majority of what we did was to
try to determine which part of
the chaos was interesting to
film," says Hegedus. "Film is
much too expensive to just keep
shooting everything that hap¬
pens."

by Stephen Hopkins
by Tim Wellburn

Directed

Degrees of Separation
Edited

Greg Harrison

Edited

by Alan Pakula
Edited by Tom Rolf

Six

by Guy Magar

Blown Away

Directed

Sally Menke

think the Clinton staffers would
in their

by Carl Schenkel
by Jimmy B. Frazier

Directed

Edited

Heaven and Earth
by Oliver Stone
by David Brenner

Friedkin
Lambert

Exquisite Tenderness

Directed
Edited by

Directed

Chips

Directed by William
Edited by Robert K.

Again

by John Cherry
by Craig Basset

Directed

get all of these clearances,' but

makers

Blue

Directed

'Well, if you knew in advance
where you had to be, you could

a camera

FILMS

by Paul Tassie
by Lou Angelo

Directed
Edited

Natural Born Killers

Nightmare On Elm Street 7

by Oliver Stone
by Hank Corwin

Directed
Edited

Directed

Edited

by Wes Craven
by Patrick Lussier

Intersection
Ernest Goes To School

by Mark Rydell
by Mark Warner

Directed
Edited

Directed
Edited

White Fang IIThe Myth of the White Wolf
Directed

Edited

by Ken Olin

My
Summer Story
Directed
Edited

Paradise Bar
by Max Reid
by Andy Horvitch

Directed

Edited

by Elba Sanchez

The

Quick And The Dead
Directed

by Bob Clark
by Stan Cole

Edited

Untitled Hollywood Project
Directed by Barry Levinson
Edited by Jay Rabinowitz

by John Cherry
by Chris Ellis

by Sam Raimi
by Pietro Scalia

Dark Man II
Directed
Edited

by Bradford May
by Daniel Kahn

war room

large place with

many,

U.S. CORPORATE

HEADQUARTERS

LIGHTWORKS/USA 6762 Lexington Avenue Hollywood, CA 90038

213/465 2002

LIGHTWORKS/USA 133 Fifth Avenue 6th Floor New York, New York 10003 212/677-9775
O.L.E. CANADA INC.

3981 Boulevard St. Laurent Mezzanine #2 Montreal, Quebec Canada H2W 1Y5

514/844-8555

61
American Cinematographer - January 1994

Table of Contents for the Digital Edition of American Cinematographer - January 1994
