American Cinematographer - June 1999 - 117

Follow Your Dreams To lit
do. I don't

fight with the machine

and tweak it way out to create my
looks. I don't know if that's neces¬

sarily good or bad, I just know that I
can
get what I want very quickly -
whether it's a funky look or not -
by using the general tools. It just
takes a good understanding of how
film responds and where you want
to take it, and the ability to utilize
the equipment in the smartest
manner. It's hard to explain the
process. You balance the film the
way it should be balanced - taking

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to

get

into account the direction in which

be manipulating the
and then color from
there. You don't just whack out a
shot and then go to the next without
rebalancing the film."
"I really believe there can be
no wrong look," Leon offers in coun¬
terpoint. "Even if the skin tone is
may

you

imagery

-

blue, it doesn't
I think

mean

Academy of Television Arts and Sciences 1997 Primetime Emmy Engineering Award

that it's wrong.

lot of

people have these
right and what is
and they don't go past that.
can broadcast it, it's not
Obviously, you have to stay
a

theories of what is
wrong,

If you
wrong.

within the broadcast standards, but
most

of the color-correctors have

[internal] clips,

so you can pretty

much whack
will

things way out and it
air safely."
These priorities may change a

bit

on

the feature-film side of

telecine work, however. In transfer¬

ring most motion pictures, creating
an unusual look may be less impor¬
tant than simply creating an accu¬
rate electronic representation of
what was projected in theaters. "I see
myself as a translator for the film¬
makers as they try to move their
work from

one

Dolly

medium to another,"

Levinson. "Toward that end,
developed a critical eye and a
good memory for what I've seen on
the screen. You try to maintain the
says
I've

filmmakers' vision, and

One of the best

compliments

get when you're

Motion Picture and Television
For

a

complete catalog

or

leasing information, contact us at:

occasionally

improve it where they would have if
they could have on the film print.
can

J.L.Fisher Model 11

you

coloring

a

Equipment

1000 Isabel Street

Burbank CA 91506

tel:

323 877 9966

818 769 2631
fax:
email:

web:

818 769 2341

JLFisher@worldnet.att.net

www.ilfisher.com



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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