From American Cinematographer, Culture Clash by Vincent LoBrutto (February 1999)
"The Dry Season took place predominately on a moving cyclo, but in Vietnam there's no such thing as a Shotmaker truck. Instead, we used a Jeep with bad shocks — or seemingly no shocks at all — as a camera car. The streets of Ho Chi Minh City can be potholed and bumpy. A cyclo is approximately 8' long, and the camera lens on our Jeep was approximately 12' from the actors. As a result, we were forced to use a 75mm or 100mm lens for close-ups — lenses that are, quite frankly, too long for unsteady moving-vehicle shots with dialogue. Bumpy footage would have distracted from the story, so we brought in Will Arnot on Steadicam to minimize the bumpiness of the roads. Another time, we used the Steadicam to create a makeshift crane, since the only one available to us was ancient, unsafe, and too heavy to move onto location. We created a rig which allowed the operator to simply walk down a ladder, creating a cranelike effect."
- Lisa Rinzler
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label ladder. Show all posts
Showing posts with label ladder. Show all posts
13.5.09
Jeff Cronenweth: Path to Cinematographer
From American Cinematographer, Anarchy in the U.S.A. by Christopher Probst (November 1999)
Commenting on the path he took to his first feature film, he relates,
"I knew that both John Schartzman and Robert Brinkmann had started shooting documentaries, industrials, and whatnot right out of film school, while I was a camera assistant working my way up the ladder in a more traditional sense. Even though I wasn't shooting, I was working on $30 million and $40 million pictures. Interestingly enough, we all sort of arrived at the same place in almost the same amount of time. There's always sort of a toss-up between which is the better way to go. Obviously, the sooner you start shooting, the sooner you gain experience that you cannot get as an assistant. But, at the same time, how does someone who has done documentaries, industrials or even music videos deal with the scope of a $60 million film? I suppose it ultimately depends upon what your goals are and how you want to achieve those goals. Is it important to you to gain the knowledge that you get working up the system, or are you anxious to get in there and do it yourself?"
- Jeff Cronenweth, ASC
Commenting on the path he took to his first feature film, he relates,
"I knew that both John Schartzman and Robert Brinkmann had started shooting documentaries, industrials, and whatnot right out of film school, while I was a camera assistant working my way up the ladder in a more traditional sense. Even though I wasn't shooting, I was working on $30 million and $40 million pictures. Interestingly enough, we all sort of arrived at the same place in almost the same amount of time. There's always sort of a toss-up between which is the better way to go. Obviously, the sooner you start shooting, the sooner you gain experience that you cannot get as an assistant. But, at the same time, how does someone who has done documentaries, industrials or even music videos deal with the scope of a $60 million film? I suppose it ultimately depends upon what your goals are and how you want to achieve those goals. Is it important to you to gain the knowledge that you get working up the system, or are you anxious to get in there and do it yourself?"
- Jeff Cronenweth, ASC
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