American Cinematographer - April 1999 - 73

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wonderful, and it basically allows

anything

you to get

you want

except the 'Rodman' look," says Baffa.
Idle Hands had

much

effects work that before Baffa made

decisions regarding film stocks,

any

he consulted with Ted Rae and Pete
of

Kuran

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Concept

Entertainment to find out which

suitable.

emulsions would be

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"That

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Make your large
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Ted and Pete," remembers Baffa.

"What kills you, and what
a consideration I

love? It was

you

was

not

familiar with."

Baffa had done

some
greenwork for commercials, and
because he'd had the time and ability

screen

light levels, he employed
slow speed films on those

pump up

very

shoots.

On a narrative movie,
however, he didn't want to be locked
into

slow stock. "I wanted

some

have

freedom, but I also didn't like

the idea of

going back and forth
given sequence," he explains.
After talking with the effects team, he
within

decided

500T 5279,

shoot

Kodak's Vision

but he made

rule that

any sequence requiring even a single
effects shot would be filmed entirely

Kodak EXR 5293. This gave Rae
the fine grain structure needed for
on

his

own

work, yet also allowed Baffa

latitude

exploit a low-light
style. "I felt okay intercutting 500 and
more

but I didn't want to drop
100 ASA," Baffa says. "I just

200 ASA,

down to
like

can

saw

this time, he over¬
stock was going to be used

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what

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American Cinematographer - April 1999

Table of Contents for the Digital Edition of American Cinematographer - April 1999