Filming the Fantastic
Figure 11.8: The entrance to the tunnel was shot outdoors at night. Master grip Larry Schuler can be seen bracing the camera in the foreground. Courtesy of Grant McCune Design and Illusion Arts.
Figure 11.9: Another view of the entrance setup. Note that the light in the foreground is casting a “helper� light underneath the practical miniature lamp to light the wall. The other miniature lamp to the right does not have the power to cast a real beam of its own. This traditional trick can also be used in computer graphics programs to enhance the lighting of computer models. Courtesy of Grant McCune Design and Illusion Arts.
spray onto the antihalation backing of the fi lm, preventing its removal during processing. When this happens the fi lm comes back with a snowstorm of white specks over the image, which are the result of blobs of the black backing remaining on the negative, which create white specks on the print. Fortunately, they can be removed by putting the negative through the processor a second time (known as a rewash), which will remove the remaining backing. It is best to avoid this procedure, however, as it puts the negative through more handling.
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