American Cinematographer - March 1991 - 70

and I moved the light from vertical,

YOU'LL FIND THERE'S
NOTHING TO CHANGE
ABOUT OUR BL CRYSTAL

strong contrast during the kiss, into

Finally there's a crystal that fits directly
into your camera without making special
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24,25, and 30 fps. And variable speeds
of 5 50 fps. Including a digital readout.
Available exclusively at Roessel CPT:
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horizontal. You don't see it-it just

horizontal. The intensity of the light
doesn't change, but the quality of
the light becomes softer, just by

turning the light from vertical to
goes

in the unconscious."
Fluorescents also have the

advantage of being reflected light,
generated from a gas, as opposed to
direct, filament produced light. Van

-

de Sande

avers

that most natural

light is reflected many times prior
to hitting a given
subject. The
fluorescents

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Don't throw your idea away. Shoot in Mexico instead, for about >/3 the cost to shoot
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Mexico has locations that look almost identical to Europe. Or the South Pacific. Or
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over

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Of course, that can be fixed with

SONY PORTABLE, DIGITAL

filters, but that's a drag."
In the past, Van de Sande

DAT

has

Contrast Enhancement. "In the lab

The

tiny, 41b pro recorderpacked with
heavyweight features including:
Better sound quality than a CD,
Perfect lip-sync RECORD/PLA YBACK.

process, the bleach bath is left out
to a certain degree, so the exposed
silver grains stay in the emulsion.
The result is rich, dense blacks. The

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density contrast becomes very
strong. It's the same thing Storaro

aiangordon enterprises me.
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does with Technicolor's ENR pro¬
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1

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Much, much more!

Insight Column

but I did it in a much stronger

way. The labs give it all kinds of
different names, but in fact it's ex¬
Cut out coupon

actly the same process.

and mail to

"It becomes

Tiffen, 90 Oser Avenue,
Hauppauge, NY 11788

WITH THE

7?FFEN

employed a silver enhance¬
called CCE - Color

ment process

TCD-D10 PRO

Tel:

time with these bulbs. Kinoflo

working very hard on this. Gen¬
erally they're okay, but sometimes,
especially with the older bulbs, you
start them up and
you have no
green, and ten minutes later, they
have a tendency to become green.

CINE SOUTH de MEXICO

E'N'

be dimmed without

is

IT'S NEVER BEEN EASIER TO FILM IN MEXICO

CONTACT: MARK PITTMAN

can

gotten constant color temperature

make it easy, at
letter

a

losing color temperature, which is
a big plus. But
they haven't quite

Cine South is

we

not without their

totally different kind of light. And
there I'm fighting with the diffi¬
culties of these lights - mainly
with the color temperature. The

You say your idea calls
or the Amazon jungle,

or

are

difficulties, however.

a

kind of

key

image, comparable to the key im¬
age in the old Technicolor system.

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With Technicolor imbibation de¬

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velopment you have the three col¬
ors,

-

Name

i

I

Street

I

City

_

State

Tel. (

Zip.

and

an

extra black and white

layer - the key image, which in¬
creases contrast and boosts the
blacks. CCE lets you do the same
thing. I wanted to go quite a bit
further, however - to get a very
American Cinematographer - March 1991

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