American Cinematographer - November 1998 - 69

follow Your drums to
with

faint tint," says

Beverly Wood,
vice president of technical services at
Deluxe. "It may not be unpleasant to
the eye, but it wouldn't be the pure
blacks and whites Gary wanted. We
are
doing what is necessary to main¬
tain the integrity of the images. We
stop printing if we don't think every¬
thing is right."
a

Asked what he learned from
this

experience, Lindley replies, "Aside
technological
challenges, I learned that there's a new
player in our universe. In some
movies, the visual effects supervisor is
just the person who does stuff with

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7

from the aesthetic and

the

monster

and tries to make it look

real. On other movies, like Pleas-

antville, he or she can have an effect on

brightness and all of the
things that the cinematographer
normally controls. I was very lucky
contrast,

that Chris and his
with

team were

IN SAN FRANCISCO

|P

PROVIDING THE NEW GENERATION
OF CAMERA SYSTEMS

blessed

creative aesthetic and

respected
my work. This is something every
cinematographer should be aware of.
Who knows what will happen with
people who don't have that same feel¬
ing or talent?"
Ross believes the possibilities
offered by color manipulation are
virtually limitless. For example, early
in

a

Pleasantville,

wears

an

one

of the characters

electric blue dress that

draws the eyes

of the audience like

a

magnet. That wasn't the result he
wanted, so he toned down the blue.

Technically, he says, there is no
reason why the dress couldn't be red
in

China, where that color has

different

a

ARRI 16SR3

symbolic meaning than it

does in Western countries.

Degus summarizes the film's
overall effect by quoting something

ALL FEATURE

sky and all of the things we take
granted. That's what makes this
picture so special."
■

Illuminated ground
Variable shutters

*
*
*

see

for

*

*

if

blue

Crisp, bright viewfinders with ample surround
safety margins

*

that the fictional Mr. Parker says near
the end of the film: "Gosh, I wonder

they realize how lucky they are to
colors like that?" Describing the
effect that production had on him
personally, he concludes, "It made
me think about green trees and the

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American Cinematographer - November 1998

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