American Cinematographer - June 1999 - 111

and
be

complementary colors, and to

aware

of the limitations of any

particular system. For instance, I
need to know what

a

monitor

can

and can't show you. There are a
number things you'll see when a film

print is projected up on a screen that
will never see on a consumer

you

television set."

Approaching Color
The process of color-correct¬
ing an image in telecine begins at
the moment the negative is exposed
in the camera. It is during this
instant that the foundation of what
a

colorist

can or

cannot

build into

a

desired look is

indelibly established.
"Understanding the nature of film
and the various lab processes

-

bleach-bypass, cross-process¬
ing, shooting on high-contrast
sound-recording stock, and so on
helps in what I do," Sonnenfeld
ENR,

-

submits. "Toward that end, I've

operated and shot

music
myself, so I
can
fully understand the filming
process. Being familiar with your
craft is important. I get called all the
time by people asking which stock
they should use, how they should
expose it, and which filters should
some

videos and commercials

be added in order

to

best

dependable
service

dependable
equipment
35mm/16mm
Arriflex/Aaton
accessories/filters
support/expendables
lenses/specialty items
NEW: Revolution system

create a

certain look.

"These

really questions for
cinematographer, but I answer
them because I view my role in any
project as being part of the [visual]
are

a

collaboration. That collaborative
effort is very intertwined now
between the director, the director of

photography, the colorist, the
Henry/Flame artist, and even the
editor and sound designer. When
you're going to strive for a particular
look at the telecine stage, it may be
necessary to do certain things in the
shooting and art direction to aid the
process. By being familiar with the
many looks that are possible, I can
often recommend

to

a

client the

quickest, most efficient, and leastexpensive photographic route

Schumacher

CAMERA
exquisitely maintained custom

packages
Chicago.

cameras

call for details. 312/243-3400.



American Cinematographer - June 1999

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

American Cinematographer - June 1999 - 1
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