American Cinematographer - June 1995 - 76

That

evening,

represen¬

tatives from Deluxe Laboratories

made

presentation to the group.
of the event, Deluxe
processed and printed the 35mm
footage we shot during the week,
a

A co-sponsor

which allowed

us

to evaluate and

discuss the results with the
ters. Ron

mas¬

Koch, Deluxe's vice-

president of producer services,
and

Jim Hanralin, head of

mar¬

keting and sales, stressed the im¬
portance of clear, specific com¬
munication in achieving good re¬
sults through the lab. This begins
with the labels
camera

on the cans, the
reports, and the clarity of

the slates preceding each shot.
Each new lighting setup should
be accompanied by a grey scale,
lit with the exact color of light the

cinematographer wishes to be
white in that

scene.

If the

scene

is

sunlit, the grey scale should be lit
with the same color sunlight at
the

same

time of

day. If the scene

is lit with

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Light is

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that can be changed with ease
from outside the fixture head.

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of Ballast!

tungsten light, gelled
with CTO for a warm effect, the

scale should be lit with
ungelled tungsten light.
Deluxe will push or pull
the negative processing on de¬
grey

mand, and recommends careful
testing before committing to spe¬
cial processing. To minimize the
buildup of grain, they suggest
rating a 500 ASA stock at 700
ASA when push-processing one
stop to 1000 ASA. They will also
flash the negative, but request
testing to determine the desired

cinematographers
requested specific printer lights;

Flicker Free Ballast

others let the lab timer find the
level appropriate to the film. Nor¬

featuring the
Regulator to
ensure proper voltage and low
amperage draw. Dual usage, the
perfect match for the new 6K SE
and the 12K Super Silver Bullet.
Call for

more

details and

price information.

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3500 West

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Some

mally, 5298 should fall in the
mid-30s, 5245 in the mid-20s (in
the printer light scale of 1-50 for
each of the three printer lights).
The discussion then
turned to projection standards, and

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78

see a

movie

tonight.

of the

newer

cinematographer, uses sat¬
ellite communication to deter¬
mine your exact position within
25 meters on the ground and
altitude within 300 feet.
Phillips uses the system to scout
shoots
particularly aerial
shoots. If you are in motion, it
will also give you your compass
heading and speed. If you feed in
a
specific destination, it will give
you a desired heading and travel
time necessary at a given speed.
Phillips, who uses the
your

-

Trimble Scout GPS unit, also dis¬
cussed the Pocket Pal, which,
among many functions, can be
used to accurately predict the

position of the sun at a particular
time and day. This information
can be critical to a
production if a
particular shot depends on the
sun
being visible (or blocked
from view). Shadow location can
also be predicted and measured

using this data.

Phillips brought out the
storyboards for a commercial he
had recently shot, a car spot fea¬
turing a famous golf pro in sev¬
eral dramatic locations, including
the Grand Canyon and Wall
Street. Prints generated from the
camera's video assist

Due to scheduling and
budget considerations, neither
the pro nor the car actually trav¬
elled to any of the real locations.
The shots had to be composited

from several elements - some
shot on location, some on a
bluescreen stage. Transparencies
were made from the video assist

image and used
needed to be

at 5400°K. Most

another,

are

considerably

degrade the image.

Tuesday
The

morning session
with Phillips was held out on the

June 1995

system

included in the

storyboard,
showing the precise framing of

were

maintain the ideal 16 footlamberts

darker and

tools available

to the

matte. When

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one

how few commercial theaters

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expansive sunlit lawn.
by
opening his case of instruments.
The Global Positioning System,
He started the discussion

the shot.

percentage.

Select the compact Magnetic
Ballast or the 12/6K Electronic
Power Factor

center's

a

as a positioning
second shot

a

composited with
transparency of the

first shot would be laid over the
video assist monitor (it fit ex¬

actly), and the final composited
shot could be pre-visualized, pre¬

cisely guiding the framing of the
American Cinematographer - June 1995

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