American Cinematographer - November 1999 - 76
A Less-Than-Civil War
a local warehouse by production
designer (and fellow Ice Storm alum)
Mark Friedberg. "Mark was always
there and always very inclusive," the
cinematographer says. "He always
asked my opinion on things."
Projecting sufficient daylight
into the dugout for proper exposure
often required taking out a section of
wall. "I usually used a 20K tungsten
light through a 12' by 12' frame of
light gridcloth, placed about 25' from
the set to create a soft daylight ambi¬
in
a
more
natural
look, fill light was kept to a mini¬
Elmes
explains, "Fill light
difference between
compared to what
the film sees, so I usually use just the
littlest bit, although it's important
mum.
makes up for the
what my eye sees
The
only light illuminating the
cave at night came from the fireplace
an
see
all that texture back there
-
the
that
flickering light
to
the wall
because it added to the claustropho¬
bic quality of the space."
To mimic firelight at night in
the dugout, gaffer Jonathan Lumley
see
built 2'
x
2' and 3'
x
on
3' bulb boards,
using pieces of plywood mounted
with nine sockets and then fitted
that it be there."
or
"The biggest problem of
shooting in the dugout was that
while it was easy to light the actors'
faces when they were near the fire,
the dark-gray, clay earth of the
dugout wall three feet behind them
disappeared completely. I continually
found myself having to light just the
back wall, otherwise you wouldn't
states.
rocks, roots and leaves. I wanted
ence," Elmes reveals.
To maintain
wider shots, we would burn a fire in
there and then hide lights on one side
or the other of the actual fire," he
occasional lantern. "In the
hung
on
which
often trained
fireplace (in place of actual fire)
because of the width of the
anamor-
phic frame. Elmes says that a 50mm
provided a good claustrophobic feel,
while 75mm and 100mm lenses were
used for
close-ups.
When the four Bushwhackers
discover the Evans house in flames
and Mr. Evans murdered
by raiding
Jayhawkers, they pursue the attackers
on horseback
through the woods,
but stumble right into a Federal
ambush. The chase begins at twilight,
with the successive shots becoming
darker until the four
men
enter a
clearing and find themselves trapped
by the enemy. Elmes and Lee wanted
the gunfight scene to be dark, with¬
out the hard moonlight seen in many
with different-sized tungsten
films. "The Federal attackers
running
identified
on
Diffusion and
bulbs
flicker generators.
warm
gels were then
Over 15
the
on
from underneath and within
actors
the
the front of the boards,
were
were
only by their gunshots in
the dark woods," Elmes observes.
year's service in feature films,
commercials and music films
JLOlOOOll 1
*
Mimic
-
*
35mm
or
*
Vistavision
learn and repeat
track, lift, rotate, pan, tilt, roll, focus and
zoom
digital betacam
cameras
Custom
engineered model movers
Borescope, periscope and snorkel lenses available
1 fps to 120 fps - fixed or vari-speed
Time lapse and animation capabilities
SLjjMlUie input triggers, including time-code
3D move scaling
Mix and overlay facilities
Import/export moves between rigs and 3D software
Wide range of model movers including car turntables
*
*
*
*
*
*
*
*
Feature films:
Borrowers, Lost in Space,
Merlin, Pianist on the Ocean, Saint, Jackal,
Panther Moy
Mitchell S35 or
Ninth Gate, Peut Etre,
client's
Christmas Carol,
Alice in Wonderland...
Commercials: Ford, Volvo,
BNCR
*
Field recorder systems
*
Moving single frame
Portable to any studio
camera
preference
*
or
Panavision lens mounts
or
location in
any country
Saab, GM,
BMW, Nissan, VW, Lexus, Rover, Alfa
Romeo, Smirnoff, Visa, Lennox, Nescafe,
Motion Control Cameras
MacDonalds...
6 Belvue Business Centre,
Music Films: Phil Collins,
Northolt, Middlesex UB5 5QQ, United Kingdom
Jamiroquai
George Michael, Smashing Pumpkins,
Belvue Road,
Telephone: +44 (0)208 845 6800
Celine Dion...
Facsimile: +44 (0)208 845 3900
TV
Web site: www.motioncontrol.co.uk
productions: Viaggio nel Cosmo RAI,
BBC, CNN...
74
*
E-mail:
MotionControlCameras@compuserve.com
American Cinematographer - November 1999
Table of Contents for the Digital Edition of American Cinematographer - November 1999
American Cinematographer - November 1999 - 1
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American Cinematographer - November 1999 - 3
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