American Cinematographer - August 1996 - 98

THE POWER BROKER

with, you have no place to go," he cau¬

Motion Picture

tions.

*
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Cameras
Generators

Equipment For Sale
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Lenses

*Lighting
* Cranes

*Editing

"Shooting a bit wider than neces¬
sary lets you get inside the image in post
and stabilize it. Up to a certain point, you
can see with the human eye that the
camera

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is

shaking; the problem with

poor man's motion
look great on stage,

control is that
it can
but when you
get the dailies you may still see move¬
ment. We had to track out quite a bit of
movement in post using the Harry, and
that cost a lot of money. In hindsight,
after all of that trial and error, we prob¬
ably ended up spending about as much
money - with more headaches - as
we would have if we had gone with a full
motion-control dolly from the beginning."
Pender also points out that this
setup doesn't allow a cinematographer
to pan or tilt and make seamless moves.
It's also necessary to use the same lens
size and keep the same height off the
ground from shot to shot. A further re¬
quirement is a dual-pin-registered
camera; even though he is a self-pro¬
claimed "Arri man," Pender went with a
Panavision

CAMERA

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Jam

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Tel:213-666-8936 fax:213-666-0214

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Discerning Eye Knows the Difference

because the Arri B1

lenses to compress the

images, but the

stage we were on - at Kleinburg Stu¬
dios, just outside Toronto - wasn't long

MOVIECAM, ALL ARRIFLEX,
MITCHELL FRIES, PHOTOSONICS
mm

camera

only was not dual-pin-registered, but
was too restrictive speed-wise.
"The tricky part was that we
needed extremely long-lens shots to
marry the foreground, background and
transition pieces, as well as footage that
smoothly matched speed-wise, and that
wasn't really possible using long [prime]
lenses or an Arri." Pender shot using the
not

11:1 Primo zoom and Kodak 5298 stock.
"I would have loved to have used 400mm

Well maintained, checked
and double checked.

HS 35mm & 16

enough,"

Pender. "Most of the time
end of the stage and
we were crammed up against the other
end. Next time we'll have to find a larger
stage."
♦

CAMERAS, UP

the set

TO 2500 FPS WITH UNILUX

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says

was on one

(Also available at Clairmont
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Spot: "Song"
Product: Glade Candle Air Fresheners
Production

Company:

Curious Pictures
Director: Randy Akers
Agency: Foote, Cone & Belding,
Chicago

FOR
94

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us¬

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IN NEW YORK: 212-RENTALS

Now York 1 1377

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IN ATLANTA: 404-223-5007

Atlanta, CA 30307
American Cinematographer - August 1996

Table of Contents for the Digital Edition of American Cinematographer - August 1996
