American Cinematographer - October 1994 - 70

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tion. "We chose

wasted

because of the lightning,
kept saying, 'I've never seen
anything prettier than this.' Fi¬
nally we had to go, and I kept ar¬
guing all the way down the hill.
When we got back, we found out

body. We would compress the
actors with long lenses, but some-

that three or four of our guys
had been hit by lightning while

it look like

dians than

we
we

person out of frame, we'd call
him over and put him some¬
one

where. There

Europe's top shooters

one

about movies

-

not

lesson

they're

everything."
Donald M.

times when

Discover why

not

a

-

get a charge out of PAG.

was

"So I learned

PAG's line of batteries & char

ranging from 12-31,2V (1.7-1 OAh). *.

angles that made

had a lot more In¬
did. If we had even

Morgan, ASC

we were

close and

Valley CA

than lights

...

Oostrum, ASC

Emmy hopeful who has already
collected an ASC Award for his
nominated work. Prior to his
1994 ASC win, he had collected
an ASC nomination for Burden
of

aim to achieve

Proof,

an old-fashioned
look to match the historic Ari¬

well

as

as an

Emmy nomi¬

nation for Miss Rose White. Other

Tuscon. "I used Tiffen tobacco fil¬

television credits include Son of
the Morning Star, Oliver North,

ters, low-contrast filters and soft
effects filters, either all at once or

get, The Incident and The Last El¬

locations, such

as

Old

of them. The filters
the film an old-fashioned

some

look, while the Indians' skin
tones [in combination with] the
tobacco filters also helped a lot."
The director of photogra¬

the reservation, I took all the
warmth out of the filtration," he

Somebody's Daughter, Never For¬

ephant. He has also served as di¬
rector of photography on the fea¬
tures Blue Heaven, A Certain Fury,
Gettysburg and the forthcoming
Separate Lives.
Taking the reins on the
followup to the highly successful
miniseries Lonesome Dove gave
Van Oostrum

a

chance to create

sweeping vistas for the small
When asked if he missed
the freedom afforded by larger
theatrical formats, Van Oostrum
screen.

says. "I took off the tobacco filters
and put double fog filters on, so
that the scene would glow just a

replies, "I focus on good material.

little bit. We made it

I don't think it matters whether

as

hot and

washed-out and uncomfortable¬

[a

looking as we thought it probably

a feature film or a tele¬
vision program. 1 have a lot of

would have been."

good relationships with directors

Adding to the logistical
problems of the Geronimo shoot
was some
punishing weather that
wreaked havoc on the produc¬
tion. "We had some real prob¬

in

lems with the monsoons," Mor¬

tana

recalls. "Once time I had an
entire night camp on a hill lit and

The Matth-Matic Pneumatic Stand

gan

inexpensive pedestal support.
Lightweight and portable, you can
easily tansport it into the field for

ready to

go,

and

a

terrible rain¬

storm almost washed out the

whole setup.

1-800-CE STAND
68

Kees Van

people in each shot as possible."
Morgan made extensive
use of filters on the
project in his

on

location work. More info? Call:

-

Return to Lonesome

camera.

phy occasionally departed from
his strategy for dramatic pur¬
poses. "When the Indians were

allows

lesson about movies

Van Oostrum is another

gave

more

a

they're not everything."
Morgan recently served
as director of
photography for the
aerial unit on the upcoming fea¬
ture Terminal Velocity.

Dove, Part 2

just
matthews stands for

learned

each

zona

Slmi

loading the electrical truck. So I

background action so that some¬
one was
doing something for

SYSTEMS

960 Enchanted

but I

down in water, we would roll
three cameras and [arrange]

Then we would
criss-cross between cameras so
that we could keep as many

ADVANCED
BATTERY

wrap

October 1994

They wanted to

project is]

television, but I'm also inter¬

ested in features."
On Return to Lonesome

Dove, Van Oostrum took full ad¬
vantage of the magnificent Mon¬

landscapes that served as the
miniseries' primary locations.
"We went for a very strong Mon¬
feeling and used the scenery
as
possible to give [the
show] a more epic look," he says.
tana
as

much
American Cinematographer - October 1994

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