American Cinematographer - June 1998 - 71

Introducing the
12,000 Watt HMI Molepar®

town L.A.

primarily consisted of a
"lengthy chase sequence in which
our heroes follow Godzilla
through
Manhattan and finally discover the
tunnel under the city, which leads
them right into the nest in Madison
Square Garden," Steiger explains.
"This is

a

film and

we

30-minute section of the

spent nearly half of our
on it,
getting all of

New York schedule

the landmarks. Then
we

could in Los

much easier

to

we

faked what

Angeles, which

was

do."

Our newest HMI

The

general street lighting
approach in Los Angeles was similar
to

what had been done in New York.

Submits

Type 6601, is designed
single
ended globe. Perfect for lighting
large indoor and outdoor sets.
around the 12,000 watt

?*■>

key grip Tony Marra, whose

credits include The

Rapture, Kansas
City, One Fine Day and the engineer¬
ing of the stunning Titan crane shot
which opens Robert Altman's The
Player, "Jimmy and I never crowded
the frame

too

much. There was

Molepar?

Four lenses

are

available (Narrow Beam,

Medium, Wide and Extra Wide Flood).

some

talk about

digitally removing fixtures
since most everything was a
effects shot, but we didn't rely

in post,

visual
on

that

I.

*5593
E-mail: info@mole.com
internet: http://www.mole.com
Sycamore Ave., Hollywood, CA 90038-2384 U.S.A.

much. But sometimes

too

Roland would say, 'That whole side
of the shot is going to be matted out.
You

put a truck in there if you

can

want

to.' That really made things easy.

Otherwise,

mainly hid our Maxis
garbage bins and wreck¬
age. The grip crew would then go in
and place diffusion, gels and flags at
every lighting point. Like Jimmy, I
had a grid map that detailed all of the
lighting, on the ground and on the
rooftops."
In order to photograph G's
point of view as he chases a hapless
cab, Marra constructed a unique car
rig consisting of a Shotmaker truck
behind

and

Enlouva

an

recounts,
camera

we

cars,

III

"Normally, when

car

stuff with

He

crane.

an

you

do

arm,

the

picture car is following you and
you're moving the arm around to get
nice moving shots. But to get

I 101 708.2202
SPECIILIZinG IH (llion PICIIIE STILL

PljlMMT

Godzilla's POV, we had to chase the
cab while swooping up and down
from 26' up. So the arm had to work
off the front end of the Shotmaker,

with

me

and

a

couple of

my

dolly

ujiuui.tbkphotos.coiii e-ihil:tlili@spriiitiiiail.com

69



American Cinematographer - June 1998

Table of Contents for the Digital Edition of American Cinematographer - June 1998

American Cinematographer - June 1998 - 1
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