American Cinematographer - December 1999 - 69
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Top: Bond
escapes certain death by sliding along a steel cable with the aid of a
crowbar. Bottom: Wade Eastwood, Pierce Brosnan's stunt double, is cabled up to
perform the maneuver, along with the camera that will record his feat. Note the safety
line running out of Eastwood's shirtsleeve, securing him to the main cable.
know these stocks
so
well that I
almost shoot them without
used the 79 in
ors,
a
can
meter. I
nearly all of the interi¬
the 48 for general exterior stuff,
and the 45
sparingly - on
big, wide daylight exteriors."
Preferring to have as much
"bite" in his negative as possible,
Biddle tends to overexpose slightly
whenever he can to get the crisp
edges and rich blacks that distinguish
his edgiest work. "It's not the amount
of light, really, it's the information on
the film," he says. "I like to print
-
down to get a
very
good thick negative. I
believer in
ture. I
the lenses
liked
a
completely
open aper¬
like to give the focus puller and
a
chance
to
be their best. I
the exposure a little
bring out the quality of the
by shooting at about T4.5 or
bit and
5.6. I'd do it all the time if I could.
"I also think Kodak tends
-
Orlando, Florida
5289] 800T, I don't think they're
really 500 or 800 [ASA]. You can
my films, to really help the exposure.
I hate to shoot wide-open all the time
do, you're just going to have to use
higher printing print lights. I rate the
do that. I'm not a big
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American Cinematographer - December 1999
Table of Contents for the Digital Edition of American Cinematographer - December 1999
American Cinematographer - December 1999 - 1
American Cinematographer - December 1999 - 2
American Cinematographer - December 1999 - 3
American Cinematographer - December 1999 - 4
American Cinematographer - December 1999 - 5
American Cinematographer - December 1999 - 6
American Cinematographer - December 1999 - 7
American Cinematographer - December 1999 - 8
American Cinematographer - December 1999 - 9
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American Cinematographer - December 1999 - 27
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