American Cinematographer - October 1995 - 98

r

lighting on the rooftop so
that it didn't stand out as being
the only one lit in the city. So I
knocked our lighting to the abso¬

our

Used

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packages with a warranty
The equipment we

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pushed to a full 400 ASA rating.
It really looked quite good. I
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the best

and on normal use. 35mm and 16mm.
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lute bare minimum, which was
about two stops under with the
T2.3 pushed - and in this case I

how to achieve that kind of look
with anamorphic lenses, when

THE EQUIPMENT BROKER

the

zooms are

around

a

T4

or

T3.9.
ters

CRYSTAL SYNC FOR OLD CAMERAS:
fcBolex H-16 $895, Arri 16-S/M $1195,
Arri 16-BL $895, Bolex EBM/EL $270.
MILLIFRAME CONTROLLERS

"We shot all of our mas¬
the real location and then

on

rebuilt the
most inch

rooftop on stage, al¬
by inch as a perfect
scale replica, to shoot all of our
close-ups and interlinking ma¬
terial. On stage we used huge
TransLights as backgrounds.
Luckily it all matched very well.

For Aaton, Arri

"That's another advan¬

16-SR, etc. and most of the above.
Crystal 1-159.999 FPS. Phase button. From $565.

tage of Super 35," Tattersall ex¬
pands. "You can light a massive

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a

Musco

light - in our case we also used
the Nightsun - and shoot your
night exteriors at ASA 320 at
T1.3

or

thereabouts. If

we were

shooting in anamorphic we
would have had to use multiple
sources

the

pocket pal™...

me a

with

unique
computer software
designed to assist
every professional
cinematographer,
the pocket pal™
programs are now
available for the
SHARP WIZARD.

to cover the scenes

we

shooting, and that drives

were

little bit nuts in terms of the

multiple shadows and how they
overlap. I tend to shoot uncor¬
rected on the lens, using lA CTOs
HMIs and Vi CTOs on the
Muscos, which tend to be a little
on

cooler. I
so we

just pulled it back a little
wouldn't go too blue."
Asked to sum up his ex¬

periences on Virtuosity, Tattersall
concludes, "I took it all with

of

125

upgrade policy.

you just try to preserve as much
of the original idea as possible

field,

format,

timecode,
diopter and SOLAR
exposure,

PREDICTIONS.

Documented in
page
Photo

by Tim Stel

FREE

...lets ADRIAN HURLEY

jump through hoops.

a

cause

manual.

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[the

while

Bk€iB
IK°M°QRAPhlC5

publication

HOLLYWOOD, CALIFORNIA

CALL

a

pinch of salt. When you're with
the director and you dream about
all of the wonderful things you're
going to do - which is a terribly
important part of the process -
some ideas
go out the window
because they're time-consum¬
ing, or because the ideas are too
elaborate or expensive, or be¬

Twenty
routines
cover framing, depth

compromising like hell.
just the nature of the

That's

beast."

script] has changed. So
American Cinematographer - October 1995

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