American Cinematographer - April 2001 - 82

Striking "Digital Prints"
Lindenmaier

disagrees, saying
actually recommends
that digital filmmakers avoid using
the film/ffame mode unless they're
working with HD 24p. "It's not a true
progressive mode, so when you
transfer it to film there's a significant
Swiss Effects

loss of resolution, and it's very

jittery," he says.
Daviau used

For Sweet,

a

PAL

Sony VX-1000 that director Elyse
Couvillion

obtained

from

Filmmakers Alliance. "We had
the

For the first

time,

the ASC is pleased

to

offer this incredible 92-minute documen¬
tary

about the craft of cinematography.

This work

is

also

is

a

history of cinematog¬

raphy and filmmaking, featuring examples of
The

Art

Of

Cinematography

significant advances and highlights culled
from the imagery of major cinematographic
innovators.

Included

are more

than 100

seen

before, and we were really

camera

impressed with the quality of the
picture," Daviau notes. On Chelsea
Walls, Richmond and Rutkowski
used

two PAL

Sony PD-100s, and

Richmond used the

same

cameras

again for The Chateau. "While we
filming or taping, we were
always thinking about what it was
going to look like [on film],"
were

Richmond recalls.

Maryse Alberti employed the
Sony PD-100 on Linklater's
Tape, and she says that the qualities

PAL

excerpts

from classic films, including ET:

The Extra-Terrestrial, Raging Bull, Birth of a

she valued
its

were

Nation, Citizen Kane, In Cold Blood, The

Graduate, Rosemary's Baby and

others. Among those interviewed
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ASC members

as

are

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Fax orders:

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Or order online

at

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Visions of Light is

a

about the

and

use.

seduced

are

because it's

observes.

camera

of

ease

Because

by the
really small," she
it

fits

into

a

person's hand, she continues, the
camera

allows

frames and

a

filmmaker

moves

to create

that would take

a

long time to achieve with a 35mm or
even a

16mm

camera.

"It frees your

come up with
unusual frames and execute them

imagination to

Deschanel, William A. Fraker, John Bailey,

To order by phone:

"Filmmakers
camera

many

most

size

must-have for the

quickly."
Alberti

says DV's greatest
strength is its ease of use, not its abil¬
ity to mimic film. "People always
want to make tape look like film, but
my philosophy is: don't, because it's
not film. If you shoot tape, use the
medium, and find what is exciting in

that medium." She adds that DV

was

especially well-suited to Tape because
concentrates mainly on
actors' faces. "Once I blew up the
close-ups, they looked very good,"
she says. "But when you go wide, you

the film
serious

film professional, movie buff

or

cinema

student, and would also be

a

fanastic gift for the cineaste in

(VHS, U.S. format)

your

life.

lose

a

little bit of detail.

[To shoot
American Cinematographer - April 2001

Table of Contents for the Digital Edition of American Cinematographer - April 2001
