American Cinematographer - October 1995 - 68

KENWORTHY

camera movement

SNORKEL CAMERA SYSTEMS

actors find their
era

team does

variations, the

way

and the cam¬
by the

well. So

time we've done the

scene a

few

know what the master
should be," he explains.
times,

Homicide's main set is the

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police squad room, which was built
on a
city-owned pier in Baltimore's
Fells Point area. The mostly hardceilinged set is permanently top-lit,
with 4x4 foot diffusion panels
mounted in the ceiling to look like
fluorescent light fixtures. Each
panel has four 1,000-watt lights
(prior to the '95-'96 season each
panel had only 2,000 watts). Scenes
are then lit
individually when
needed. "We try to light for all the
and talent movement, but
that is not always possible, so we
sometimes end up with a general
camera

lighting," de Segonzac
lot of dimmers

use a

move we can

says. "We
that as I

compensate and the

light

can be changed."
One problem de Segonzac
faces is lighting actor Yaphet

Kotto, who plays shift com¬
mander A1 Giardello.

"Yaphet has
extremely dark complexion. We
originally tried lighting him very
carefully each time we shot him,
an

but it took too much time. So for his
office

35 MM

nent

card,

a spinning mirror reflex camera with a 170 degree
blanking shutter. The internal 30VDC motor runs the camera

or a

perma¬
bounce

fluorescent bank for fill.
a scene

with

lighter¬

Yaphet with

The 435 is

assist,

big

skinned actor, we often follow

steady image is desired.

There are both 1000 ft. and 400 ft. displacement type maga¬
zines. A new feature is the light valve which allows the operator
to direct all the light to the viewing system, or to the video

went to two

When he's in

The Fries model 435 is a new general purpose MOS production
35mm camera. With its optical printer compatible register pins,
steadiness and 150 FPS speed. The 435 is ideally suited for spe¬
cial effects, commercials or any photography where a quality

from 2 to 150 FPS forward and 2 to 50 FPS reverse, in one
frame increments all crystal. The camera is equipped with takeup and supply torque motors.

overhead boxes and

nese

a round paper Japa¬
lantern with a 150-watt bulb

on a

boom, with

end. He has to have

something like

that or you just can't shoot him;
there's nothing there. The lantern is

VVI

dimmer at the

gj*

very forgiving soft light and the
gaffer walks it so that it's kept to
a

combo which splits the light between both viewing and

Reflex

video assist.

Came

side of his face and the shadow
doesn't move. We'll also use it on
one

everyone for night shots, which are
often back lit. The Japanese lantern
lets us take full advantage of the
hand-held 16mm camera to do

WHY NOT SEE THE WHOLE PICTURE?
The new Fries Director's Viewfinder allows the director to view the full camera aperture .980 x .735, thru
the same lenses that will be used on the camera when filming. Why aren't you getting the whole picture?

long, complicated moving night
shots with relative ease and
duced lighting costs."

The economy

re¬

of the Super

16mm format also allows the flex¬
apsktuk:

CD <

Film Clip: The finder has a set of register pins that will hold a film clip the same as the Fries camera.
Groundglasses: Interchangeable. The same groundglass as is used in the Fries 35R and 35R3 cameras.

Fries

Director's

Viewfinder

Engineering designs and manufacturers special effects cameras and conversions in 35mm, 65mm
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ibility to shoot a rehearsal. "There's
nothing to stop us; if we have a
particularly emotional scene where
say, someone is crying, we'll shoot
it. Our lighting is up, our boom man
is great, and we do it."

American Cinematographer - October 1995

Table of Contents for the Digital Edition of American Cinematographer - October 1995