American Cinematographer - November 1998 - 95
An added benefit from print¬
ing each color layer separately is the
ability to individually select the qual¬
ity of each dye used. "The dyes in a
standard color print film are actually
manufactured in the positive film as
a
result
of chemical
reactions,"
Ricotta details. "Those
dyes are very
good, but they restrict your freedom
in terms of what dyes you are going
to use because they are formed by the
chemicals that are already in the film.
With the dye-transfer process, you
select the dyes that you want based
on
their actual color rendition.
"Color
positive prints will
exactly like dye-transfer
prints," notes Ricotta. "While we
believe the overall quality of dyetransfer prints to be superior, we
recognize that the 'dye-transfer look'
may not be proper for every picture.
In that regard, it may considered yet
another option in the arsenal of the
creative community."
never
look
Some Time-Tested
produces the opposite effect, yielding
a
slightly more contrasty image with
Alternatives
All of the
special
detailed here also
tional
come
processes
with addi¬
charges to the filmmakers, so it
should be noted that there still
inexpensive
some
several of which
can
are
alternatives,
be performed
in-camera.
A less extreme way to
manipu¬
be achieved not
only through lighting and exposure,
but also by means of pushing and
pulling the film (usually up to two
stops with no deleterious effects on
grain), which can subtly change the
film's contrast response and color
saturation. Pulling the film - over¬
exposing (by underrating the film's
ASA) and then underdeveloping the
negative - will slightly decrease the
late
contrast may
contrast
and color saturation. Push¬
ing the film - underexposing
(rating the film faster) and then
increasing the developing time -
a
subtle increase in color saturation.
The process
camera
negative
-
of flashing the
through the use
of devices like the Panaflasher
Varicon
or
(see AC July '90), or by flash¬
ing in the lab - can be used to both
decrease
contrast
and desaturate
colors. However, it should also be
noted that both
are
pulling and flashing
often used in tandem with the
utilization
of
a
silver-retention
process to further control the behav¬
ior of the effect; usually to soften the
contrast
of the mid-scale fleshtones.
And
finally, there is also the
long-used color desaturation tech¬
nique which involves striking both
color and black-and-white interposi¬
tives of the color footage. These are
then A/B-printed onto the same
print in varying degrees to mute the
colors.
■
The Look of Kino Flo
Kino Ido's innovative True Match
Lighting Systems give you the look of
quartz or daylight, but without the
heat. Controllable,
portable and dur¬
powerful punch,
yet run on an energy-lean diet.
able. Kino Flos pack a
For studio
you can
or
location. Serious
light
stand by.
American Cinematographer - November 1998
Table of Contents for the Digital Edition of American Cinematographer - November 1998
American Cinematographer - November 1998 - 1
American Cinematographer - November 1998 - 2
American Cinematographer - November 1998 - 3
American Cinematographer - November 1998 - 4
American Cinematographer - November 1998 - 5
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