American Cinematographer - September 1999 - 48

Synchronizes film cameras to monitors, projectors, or other cameras

p/msMdicfflii
*

people the

information as
possible. We had
a
year and a half of prep to look at
every set, decide how much we had
to build and how much was going to

Synchronizes and removes scan line on computer / video
filming.
Synchronizes film cameras to projected images.
Synchronizes multiple cameras 15-120 fps.
Signal Pick-Up eliminates hard wire connection

*

*

to monitor.
*

Automatic

*

Automatic
with Arriflex, Panavision. Aaton, and more.

as

be added later, and determine how
much George would shoot on each

phasing and phase adjustment knob.
camera recognition and compatibility

Generally, he preferred shooting
majority of the backgrounds for
real on the sets. Digital work can be
extraordinarily effective, but let's not
forget that it can also be very expen¬
sive. In general, it's often easier and
cheaper to build another 30 or 40 feet
set.

the

CINEIVMTGGmPU/i
electronics
31238 Via Colinas, Suite A * Westlake

necessary

far ahead of time

monitors while
*

Back to the Future

Village, California 91362

*

USA

*

Phone (818)

706-3334

*

Fax (818) 706-3335

of wall than it is

to

add that

section of wall with 10

extra

digital shots."

The Queen and her court
One of the film's most impor¬
tant

settings

the Queen's Palace

was

Naboo, and the surrounding city
of Theed. Set amid a lush, verdant
on

landscape, the royal enclave reflects
the planet's pleasant, tranquil ambi¬
ence.

"In

our

initial discussions,

George described Naboo as an idyllic
paradise with very old architecture
that combined different styles,"
Chiang relates. "I collected architec¬
tural references from various periods
and then showed them to George,
who began editing them down to the
building styles he liked.
"Once we got all of that infor¬
mation together, we began designing
new
buildings using those forms. We
equated the Queen's realm to Venice,
Italy, which is like a merchant city
that combines

a

lot of different

cultures and architectural

styles.
old but somehow
timeless place, which is the quality
that George wanted for Naboo. In

Venice is very

addition

to

Venice, I referenced

a

lot

of Moroccan

Blue

buildings, as well as the
Mosque in Turkey, and began

combining

some

of those ideas in

unusual ways - like taking
domed roof from one building

the
and

putting it onto another. The process
involved a lot of mixing and match¬

ing,

as

well

as

changing the scale

a

great deal. That worked very well,
because it created a unique, timeless



American Cinematographer - September 1999

Table of Contents for the Digital Edition of American Cinematographer - September 1999

American Cinematographer - September 1999 - 1
American Cinematographer - September 1999 - 2
American Cinematographer - September 1999 - 3
American Cinematographer - September 1999 - 4
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