American Cinematographer - September 2000 - 61
To lend the
rendered in traditional 3-D CGI
by
Toybox, including a slow-motion
sequence in which Catherine falls
through a series of subterranean
horse room
what Laufer
calls "a 2001
look and feel,"
Laufer
chambers.
suspended 65
Reflecting on the seismic
changes that digital technology is
bringing to the celluloid world,
dimmer-
Laufer
above the
actors' heads.
warns
controlled MiniBrute nine-
lights nine feet
that the role of the
cinematographer is changing. "The
digital intermediate is coming. Right
now we
have the best of both worlds:
originating and distributing
on film, but the
opportunity exists
for a digital step in the middle. Soon,
however, either the capturing or the
distribution will become digital. I
don't know which will happen first,
but if it's the capturing, then the
cinematographer's role will be
entirely redefined. And I don't think
that's good news."
Cooperation with the visualeffects world is crucial, not only to
facilitate the filmmaking process but
we are
also
to ensure
that the director of
photography remains in the loop.
"The digital process needs the input
of the director of photography at
many points along its course,"
submits Laufer. "If you simply shoot
the footage, walk away and then
come back for the grading session,
you've given up control of the look."
The
cameraman's
contract
provided for only two paid days to
grade The Cell, but in spite of that
Laufer spent months of his own time
working with Haug and the folks at
both Toybox and Buf. "I felt privi¬
leged to do it," he insists. "Next time,
I hope to be paid for it as well!"
■
DIGITAL EFFECTS
VIDEO TO FILM TRANSFER
FILM RESTORATION
BLOW-UPS
OPTICAL EFFECTS
MAIN AND END TITLES
DESIGN
59
American Cinematographer - September 2000
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