Hunter were flying planes, but
they were on the stage the
whole time. With processed
photography, we projected
images behind the planes, the
actors, and on a screen in front
of the plane that reflected into
the windscreen of the plane,
and created an illusion of reality.
When you looked in the plane
and saw Richard Dreyfuss or
Brad Johnson flying the plane,
you saw a reflection on the
windscreen that was flipped
in reverse."
Initially, Spielberg had
doubts about using processed
photography to create the illu-
sions needed for the film. He
had consulted friend George
Lucas and was considering
using blue or green screen.
But cinematographer Mikael
Salomon, with the aid of
Campbell's lighting skills,
filmed a test for Spielberg
and proved they could create
a believable effect using the
technique.
"The beauty of processed
photography is that whatever
you shoot is what you get the
next day. You see your $10 or
$20 million actor doing his per-
formance live with all the ele-
ments in a completed piece of
film that you can use for your
movie, as opposed to a blue or
green screen, or other optical, that you have to finish in post. Three or
four weeks or a month down the road, you don't have what you need in
post and you have a very expensive reshoot. Even though it's expensive
up front, it's very cost-effective, saving thousands of dollars in post
costs--and you know you have it in the can."
"I've always said
that if the story is not
good, we shouldn't do
it. You're only going
to get recognized on a
project where the script and the acting and
the directing works. It could be the most
beautiful movie in the world, but if the
story does not meet the major demands of
a dramatic film, it's just going to be passed;
you're not going to get any recognition."
--Dwight Campbell
"I would suggest reading The Five
C's of Cinematography: Motion Picture
Filming Techniques [by Joseph V. Mascelli,
Siman-James Press, June 1998] because I
think you need to understand filmmaking.
The next thing I would suggest is studying
all the great painting masters. Learn how
they controlled the light within the paintings
they've done and try to figure out how you
can do as well or better when you make a
film. If you walk through a museum, look at
the most beautiful paintings on the walls and
select one that you'd like to recreate. That's
the daily challenge of a gaffer: how do you
create on film the look you see in front of
you? How do you control that look on film
stock? If they can create it in a two-dimen-
sional canvas, then you should be able to
create it on a film plate. Anyone can shoot an
image for the moment. It's how you sculpt
that image with lighting to deliver consis-
tency over a half-day or a full day that
matters."--Dwight Campbell
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