American Cinematographer - June 2000 - 18

GO WITH THE WINNER
the beautiful sounds of a choir while he
still

The

can.

its difficult to
the outside

cinematographer notes that
light a church interior from
limited

budget because
stained-glass windows are so thick.

the

on a

"The church wasn't enormous," he says,
we saw a lot of windows in the film.

"but
It

%
*

Outstanding Achievement in
Engineering Development

Technical

Academy Aw ard
AMPAS®( 1999)

Primetime EMMY award
Made in the USA

ATAS®( 1999)

954-0016.

SPECTRA CINE, INC. Phone: (818) 954-9222 Fax: (818)

bit of

challenge for gaffer Terry
Banting, key grip Dave Erlichman and
focus puller Monica Guddat, but they did
a great job." For that sequence, the crew
supplemented its normal lighting kit-an
was a

18K HMI Fresnel, a 6K and two 4K HMI
- with two additional 18Ks.

Pars

The film

shot with lenses

was

that fell

mostly in the 28mm-65mm
range. There were exceptions, however,
with long lenses employed for point-ofview shots and to emphasize distance.
This aesthetic particularly came into play
with the character of Rachel, the teen

"Rachel stares at people, so we
few long lenses for scenes in
which she's looking at them," Middleton
voyeur.

used

notes. In the most extreme cases,

created her POV with

re¬

200mm lens.

The crew's resourcefulness

was

put to the test in a scene in which a
mother (Molly Parker) realizes that her
daughter is missing and runs to the park

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The

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The 300mm provides a focus scale
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The 400inm offers

expanded to 360° and
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focus scale

holder for two

to find

her. Podeswa and Middleton

wanted

a crane

shot that started very

high to emphasize the enormity of the
challenge facing the distraught woman.
Unfortunately, they were unable to do
the shot on the day when a proper crane
had been booked. When they finally
were able to do the shot, they had to use
a Condor that was designed as a lift for
light fixtures. "You can do descending
crane shots with that type of equipment,
as long as the motor isn't on," Middleton
explains. "It's hydraulic, so once it gets
moving, it's extremely smooth. The start
is pretty good, but the stop isn't." To
avoid the inclusion of the move's bumpy
stop, the action cuts on the move as
Parker

runs out

of the shot.

"Greg's very willing to experiment
and fail

he'll do whatever is

neces¬

says Podeswa. "What I appreciate
about him is that the work he does with

sary,"
me

doesn't look like the work he does

with

somebody else."

■

American Cinematographer - June 2000

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