American Cinematographer - October 1994 - 56

"Using Moviecams let us
go with two cameras
instead of three," says DP
Robert Primes ASC
Selecting an appropriate camera package:
weight, fewer cases and lower cost.

less

Available gear

"Of course, we also need the
equipment...With an unlimited
budget, unlimited truck space

(and

an

We'd need

silent-running
lightweight camera for those.
And we wouldn't know in advance
which days we'd need it!'

empty street to park the

trucks on), you can carry every
kind of specialist gear with you
every day. But
isn't like that!'

the real World

a

Extra lens sets?
"Even if the lightweight used the
same accessories as the
A camera and its backup, that

Budgets down
particularly
price-conscious right now, in fea¬
"The real World is

DP Robert Primes and

Compact on
Tulip Crane, shooting Poor Man's
Process footage in Mexico. 1000 foot
magazine mounted back of camera.

iT hese days, you can hardly
A find a feature film that
doesn't have a Panaglide or a
Steadicam credit'' says Director
of Photography Robert Primes.

"Body rigs and hand-holding
are now an everyday part of the
vocabulary."
Available skill

"Instead of hiring

the specialist
Operator next Thursday for the
pre-planned glide shot, I prefer
to

the

body rig whenever
a shot blocks out that way. I try
to hire one Operator who can
use

also handle the body rig, so
we have that extra skill avail¬
able every day."

tures and TV shows and com¬
mercials. Budgets are generally

going down; scheduling is tight.
In 1993, we shot a two-hour
CBS TV movie, in the rain¬

forest of Southeastern Mexico,
in twenty-two days!'
Time limited

"When the producers inter¬
viewed me for the job, they said:
The budget is limited, so is

time, we'll be in the jungle, hot
and humid, the terrain will
be awful, we'll need a moving
camera and fast setups, what do
you

suggest?"
Location

backup
"Well-shooting on location in
foreign country, some of it
inside a sub-tropical rainforest,
we'd have to take a backup sound
a

camera,

despite the limited

budget. Moving camera scenes
in the jungle would certainly
mean hand-held and glide shots.

Lining

up shot in Mexican hacienda.
Crew liked Compact's zoom eyepiece
and large exit pupil that made view¬

ing

easy, even

with

eye

off center.



American Cinematographer - October 1994

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

American Cinematographer - October 1994 - 1
American Cinematographer - October 1994 - 2
American Cinematographer - October 1994 - 3
American Cinematographer - October 1994 - 4
American Cinematographer - October 1994 - 5
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