American Cinematographer - September 2000 - 166

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films that benefitted from Perisic's

discussed.

efforts

animation rostrum camera are covered in

2001: A

Space Odyssey
(1968), Batman Returns (1992) and
Titanic (1997).
Writing in the September 1977
issue of AC, Perisic explained some of
the many effects possible through Zoptic
cinematography. "The obvious applica¬
tions of Zoptic technique are for making
objects or people appear to fly or simply
grow and shrink. Apart from this, it can
are

a

scene." In

photography profiled in
this book encompass three generations of
filmmaking, representing a wide range of
visual styles - from The African Queen to
Delicatessen. Lavishly illustrated with over
500 color pictures, 300 black-and-white
photos, and numerous diagrams, this
reference features informative

accompanying text based on interviews
with each cinematographer. This is a
perfect book for practicing professionals,
students, and movie buffs alike.
Softcover, 9"x12", 208 pages $37,00

(800) 448-0145
www.cinematographer.com

cinematograP

164

production. In¬

effects, lenses and filters, labo¬
ratory effects and the bipack camera are

camera

Optical printers and the

detail. The

chapter on process photogra¬
phy, which focuses on Zoptic techniques,
allows Perisic to shine. The final chapter
on digital effects brings the volume up to
date with coverage of film-to-digital
transfer, CCD chip cameras, and digital
image manipulation and storage. With
more

than 50 illustrations and great

organization, this book is essential read¬
ing for all students of visual effects.

295 pps,

that examines traditional and modern

ISBN 0-7864-0605-4

order to find the most efficient solution to

a

technical tour of visual-effects tools and

using the Zoptic technique, front or rear
projection through a zoom lens is
combined with a rephotographing of the
same background and a subject via a
matching zoom lens on the camera.
Perisic writes with great clarity on
the complexities of special visual effects.
Now he has produced an invaluable book

techniques and illustrates how the new
digital procedures have built upon photo¬
graphic processes. "All new techniques
build on existing ones," Perisic writes. "In

The 17 directors of

comprises

the "Nuts and Bolts" of

be used to add realism to

To order by phene:
(800) 448-0145 (u.s. only) * (323) 969-4344

Part Two of the book

in visual space while its
position relative to the camera remains
constant. Perisic used his Zoptic device
on Superman (1979) and won an Acad¬
emy Award for his efforts. Other notable
appear to move

Movie and Television
Locations: 113 Famous

Filming Sites in
Los Angeles and San Diego
by Leon Smith
McFarland & Company,

Inc.

library binding, $38.50

Leon Smith is

retired

police
began to research film
and TV locations in the early 1950s.
"Recognizing the importance of such
a

detective who

any

locations to film historians, film buffs

essential to have

and the

particular visual-effects problem, it is
an understanding of all
possible alternatives."
The author divides visual effects
into four

categories: models and minia¬

tures, matte paintings and stills, liveaction effects, and animation generated
via cel

or

computer. A thorough discus¬

sion of mattes and the

by which
they're created follows, and the funda¬
mentals of process projection, blue- and
greenscreen, color differences and trav¬
eling mattes are covered.
A comprehensive chapter on
visual-effects compositing covers the
use of perspective, lenses, lighting and
color temperature. Armed with these
fundamentals, the reader proceeds
through visual-effects preproduction and
planning, from conceptual design and
storyboarding to script breakdown,
scheduling and budgeting. Highly illus¬
trative line drawings and photographs
accompany the text throughout the book.
means

motion-picture and television
industry," he writes, "I have spent more
than 40 years tracking down movie loca¬
tions in the greater Los Angeles area."
Smith is the author of three previous
books on the subject, one of which
(Famous Hollywood Locations) was
published by McFarland in 1993. This
work is a follow-up to that volume and
does not repeat any information.
Los Angeles has often been seen
as the largest movie set in the world -
indeed, any longtime resident might
eventually be featured on TV or film.
Smith's book documents

more

than 335

motion
were

pictures and 86 TV series that
filmed in Los Angeles and San

Diego.
Smith even provides directions to
each site discussed in his book, along
with corresponding map code from the

essential Thomas Guide. What
could you

ask?

more

■
American Cinematographer - September 2000

Table of Contents for the Digital Edition of American Cinematographer - September 2000
