American Cinematographer - January 1996 - 71

Leitner

compared 4MC's
Jung to the Wizard of Oz. "Robert
sat in the tape-correction console,
looked at all the video material

coming in, did scene-to-scene

cor¬

it, then stored that infor¬
mation on disk," he marvels. "He's
rection

one

who loaded the EBR's

magazine,

4MC's lab. He
didn't

even

ran

it and sent it to
amazing. He

was

have

a

frame-store de¬

vice to

of

an

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on."

Despite his disparate
Leitner attempted to im¬
pose a uniform look. "Given the
limited tonal range of the video
news
footage comprising most of
sources,

Visual

the material, I knew I couldn't
match the look of color negative. So
I decided to

early Seventies-era reversal news¬
reel footage, shot on stocks like
Eastman 7252 ECO

or

VNF [Video

News Film]. To achieve

that, I

brought the video signal down in
order to fortify the blacks. But be¬
cause of the
contrasty daylight
lighting and the contrasty material
from single-chip camcorders, what
I got often looked like reversal
printed onto Ektachrome print
film!"
to

Leitner also found it easier
transfer and transform original

video than film that had been
transferred to video and then
transferred back to film, such as
the talking-head interviews
shot with 16mm color negative.
"The tonal range is fuller and

longer than that of video-origi¬
nated footage, and consequently
the color-correctionist has

an ex¬

panded range within which to
make changes, which can wreak
havoc." Small changes upstream at
the color-correction stage, Leitner
found, can result in big unwanted
changes downstream at the EBR
stage.
In the

with

end, Leitner was left

conundrum. "We

spend
cinematographers learn¬
ing to control our photography,
and people in postproduction
spend years learning to utilize their
equipment and experience to cre¬
ate a result. But when you reach the
final step, the transformation from
tape to film, you always feel like a
a

years as

pioneer."

Pursuit

try to match the look of

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-



American Cinematographer - January 1996

Table of Contents for the Digital Edition of American Cinematographer - January 1996

American Cinematographer - January 1996 - 1
American Cinematographer - January 1996 - 2
American Cinematographer - January 1996 - 3
American Cinematographer - January 1996 - 4
American Cinematographer - January 1996 - 5
American Cinematographer - January 1996 - 6
American Cinematographer - January 1996 - 7
American Cinematographer - January 1996 - 8
American Cinematographer - January 1996 - 9
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American Cinematographer - January 1996 - 14
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American Cinematographer - January 1996 - 20
American Cinematographer - January 1996 - 21
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American Cinematographer - January 1996 - 25
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American Cinematographer - January 1996 - 28
American Cinematographer - January 1996 - 29
American Cinematographer - January 1996 - 30
American Cinematographer - January 1996 - 31
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American Cinematographer - January 1996 - 33
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American Cinematographer - January 1996 - 37
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American Cinematographer - January 1996 - 56
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American Cinematographer - January 1996 - 60
American Cinematographer - January 1996 - 61
American Cinematographer - January 1996 - 62
American Cinematographer - January 1996 - 63
American Cinematographer - January 1996 - 64
American Cinematographer - January 1996 - 65
American Cinematographer - January 1996 - 66
American Cinematographer - January 1996 - 67
American Cinematographer - January 1996 - 68
American Cinematographer - January 1996 - 69
American Cinematographer - January 1996 - 70
American Cinematographer - January 1996 - 71
American Cinematographer - January 1996 - 72
American Cinematographer - January 1996 - 73
American Cinematographer - January 1996 - 74
American Cinematographer - January 1996 - 75
American Cinematographer - January 1996 - 76
American Cinematographer - January 1996 - 77
American Cinematographer - January 1996 - 78
American Cinematographer - January 1996 - 79
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American Cinematographer - January 1996 - 82
American Cinematographer - January 1996 - 83
American Cinematographer - January 1996 - 84
American Cinematographer - January 1996 - 85
American Cinematographer - January 1996 - 86
American Cinematographer - January 1996 - 87
American Cinematographer - January 1996 - 88
American Cinematographer - January 1996 - 89
American Cinematographer - January 1996 - 90
American Cinematographer - January 1996 - 91
American Cinematographer - January 1996 - 92
American Cinematographer - January 1996 - 93
American Cinematographer - January 1996 - 94
American Cinematographer - January 1996 - 95
American Cinematographer - January 1996 - 96
American Cinematographer - January 1996 - 97
American Cinematographer - January 1996 - 98
American Cinematographer - January 1996 - 99
American Cinematographer - January 1996 - 100
American Cinematographer - January 1996 - 101
American Cinematographer - January 1996 - 102
American Cinematographer - January 1996 - 103
American Cinematographer - January 1996 - 104
American Cinematographer - January 1996 - 105
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American Cinematographer - January 1996 - 107
American Cinematographer - January 1996 - 108
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