the film— the apartment scenes and so forth. I did some of the operating myself, but very little. Sometimes I’d shoot the rehearsals just to show everyone how we wanted the shots to play. What were your goals in the DI? Libatique: I worked with Tim Stipan at Technicolor New York, and we spent most of our time finessing specific colors. It was hard to get some of the colors just right. For example, we really worked on the red for the sequence in Act 2 when Nina is onstage by herself with the moon behind her. We also did a lot of cosmetic fixes here and there. One of my main goals was to get on the same page with Tim to determine the contrast levels for the entire film. I didn’t want the image to be too contrasty, and if the cinematographer doesn’t sit in on those sessions, most colorists will give the images more contrast because it looks sharper. I was actually in L.A. during that process, but I did two sessions with Tim at Technicolor’s facility in L.A. while he and Darren were in a Technicolor New York suite.They were able to patch the image into the L.A. suite so we could all look at the same image in real time, and I was able to give Tim my corrections over the phone. It was probably the best DI experience I’ve ever had. ● TECHNICAL SPECS 2.40:1 Super 16mm and Digital Capture Arri 416; Canon EOS 7D, 1D Mark IV Arri Ultra Prime 16 and Canon EF prime lenses Fujifilm Eterna Vivid 500 8647, Vivid 160 8643 Digital Intermediate Printed on Fujifilm 3513DI ®http://www.kinoflo.com