American Cinematographer - November 1998 - 103

would know that the Premier stock
would

bring that right back."
Similarly, Stephen Burum, ASC

utilized the Vision Premier
recent work with Brian De

on

his most

Palma, Snake

Eyes (see AC Aug. '98). "We made 11
prints for Snake Eyes using Vision
Premier, and they were fabulous," states
Burum. "I specifically wanted to build
more contrast into the prints. I've always
liked really hard contrast and deep
blacks. Any image looks better if you
show

have black-and-white references in the
frame.

[Having

allows

us

a

choice in print films]
they

to customize contrast like

do in black-and-white films. It is also

comparable to turning the knob on the
telecine to get more contrast during a
transfer session. These stocks give cine¬
matographers more control over the look
projected on the screen."
"Both Vision and Vision Premier
are just extraordinary," states Beverly
Wood, vice president of technical
services at Deluxe Laboratories, which

recently released Great Expectations
(photographed by Emmanuel Lubezki,
ASC) on Vision Premier. "I've never seen
a

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print three to four points lighter

and not lose the blacks. There

are a

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exciting time in our industry, because
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choice in looks with the

can achieve richer,
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101
American Cinematographer - November 1998

Table of Contents for the Digital Edition of American Cinematographer - November 1998
