American Cinematographer - November 1999 - 63

terms

of

ambient

depth of field. You pick up
light, color temperatures

and subtleties in the shadows that

wouldn't get if you tried to light
the entire scene yourself."
Aiding Lachman on this and
other nighttime scenes was Kodak's

you

Vision 800T 5289 film

stock, which

bolex SUPER 16
THE ONLY ONE

had

just been introduced before he
began shooting. "I'd done some tests
with the 89 and the Vision Premier
2393

print film, and I thought the

combination

was

sensational. It

was

standard test, just using a face
against a neutral-gray backdrop and
bracketing exposures in half-stop
my

increments. And while the 89 is

slightly grainier than Vision [500T]
5279, it didn't bother

me.

"A lot of

people have been
questioning the Vision print stocks
because they think they're too
contrasty, but I think it's just how you
use them. I generally light with big,
soft

so I welcome the
but I suppose it would be

sources,

contrast,

unforgiving for
uses harder
light.
more

"For another
Wilson takes

anyone

scene

who

in which

nighttime cab ride, we
literally shot without even being able
read my meter because there was so
little light. Just before we started
shooting, an inverter went out, so we
lost the supplemental lighting we'd
set up in the cab, but we just decided
to go for it. I told Steven, 'Either this
will be a reshoot, or it'll look great.'
And it did look great. Terence Stamp
was in the back seat and I could just
barely make out his shape through
the viewfinder, but the footage
turned out remarkably. I couldn't
a

believe how much information the
stock held. Also, where you

would
normally lose your blacks, because
the curve is going into underexpo¬
sure, the Vision Premier really

the 5289

scene,

I

pushed

by one stop, but the Vision

Premier held the blacks," Lachman
adds. "I
while

profeSSiOIMl

w driven camera in SUPER 16

With the famous 14.5-115 mm vario switar
power zoom with auto/manual exposure
and ASPHERON 7.5 mm wide angle lens.

The BOLEX SUPER 16 withstands anything and everything - anywhere: cold,
heat, humidity or lack of electricity; the ordeal of an expedition under extreme
conditions; or any other movie application whether in the field of research,

science, training, fiction, animation, time laps, etc.
For the BOLEX SUPER 16, professional requirements are easily met and, in addi¬
tion, its price has no equal.
Thanks to its carefully selected accessories, the BOLEX SUPER 16 adapts itself to
any type of production, including crystal-controlled applications.
Ask the manufacturer for a complete documentation on the above equipment
and other spring- or electric driven Bolex cameras, as well as information on the
possibility of adapting existing Bolex cameras and lenses for Super 16.
BOLEX INTERNATIONAL SA, 15, rte de Lausanne, CH-1400 Yverdon, Switzerland,
Tel. (...41) 24 425 60 21, Fax (...41) 24 425 68 71
For USA: contact one of our American full-service dealers:
CHAMBLESS CINE EQUIPMENT. 13368 CHATSWORTH HWY. Ellijay, Ga 30540 USA,
Tel. (706) 636-5210, Fax (706) 636-5211, e-mail: bolexcce@ellijay.com

PROCAM. 13887 N. Thunderbird Rd„ Prescott, AZ 86305,

brought them back.
"In that cab

The unique

Tel. (520) 708-9901, Fax (520) 708-9897
TCS-TECHNOLOGICAL CINEVIDEO SERVICES INC. 630 Ninth Avenue, 10th Floor
New York N.Y. 10036, Tel. (212) 247-6517, Fax (212) 489-4886

always underrate my stocks
shooting, though, which

I
of Switzerland
American Cinematographer - November 1999

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