American Cinematographer - May 1996 - 71

a
very gradated scale, and then
Tiffen would customize those fil¬

ters for you. I could take the color
palette that a production designer
comes
up with, input it into the
computer and customize a filter
palette in reverse to previsualize
how the designer's choice of colors
will be affected by different combi¬

nations of filters. I

also

can

see

boleX SUPER 16
THE ONLY ONE

the

possibility of using the computer to
things like extending a sunset to

do

cover a

his

three-minute scene."

own

Bob Primes, ASC offers
vote of approval. "The

thing that I find most intriguing is
that this system was designed for
cinematographers. It gives us a
common
vocabulary for communi¬
cating with the people in the digi¬
tal suites. It also gives us more time
to experiment and to be more cre¬
ative because we can explore the
options at a workstation. It's going
to be the way everybody works in
the future."
Allen Daviau, ASC

points
"putting the Tiffen filter
algorithms into the computer al¬
out that

lows

us

to start with references to

tools with which

already

we are

familiar. Instead of starting from
scratch with reds, greens and

blues,

we can

begin with

nomenclature that

we

a precise
have used

for years on the soundstage and on
location. [The Tiffen system] facili¬
tates

cinematographer's com¬
munications regarding filtration,
whether [that filtration] is being
applied optically during shooting
or
digitally during postpro¬
a

duction."

Summing up the system's
advantages, Brian J. Reynolds sug¬
gests that a proper use of the new
tools will help cinematographers
maintain their status

as a

valued

The unique

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With the famous 14.5-115 mm VARIO SWITAR

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For the BOLEX SUPER 16, professional requirements are easily met and, in addi¬
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link in the artistic chain. "I think

Thanks to its

producers

going to respect the
cinematographer isn't
just a guy who shows up with his
light meter and camera and ex¬
poses the film," he says. "I believe
they will accept the idea that we
should follow through and keep a

any type of production, including cristal-controlled applications.

certain amount of control

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idea that

images."

are

a

over our

<*■

carefully selected accessories, the BOLEX SUPER 16 adapts itself to

Ask the manufacturer for a complete documentation on the above equipment
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of Switzerland
American Cinematographer - May 1996

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