American Cinematographer - February 2002 - 56

Brothers in Arms
ColorStorm

Major Bruce
(Greg
Kinnear) gets

into

a

digital intermediate

process and its capabilities (see sidebar on page 50). "I can't say that
there is an overall look we're trying

Crandall

beef with

fellow soldiers.
The anger of
their exchange
is reflected in
Semler's use of

achieve," says Semler, who at press
on several timing
sessions at Efilm. "It's more like

to

time had sat in

red-hued

tweaking - adding color hints and
adjusting contrast. I also think we
can use it to help with the geography

lighting.

of the action. For instance, there's a

patrol that gets separated from the
main unit and becomes surrounded

and must wait for

the

[color timer] Mike Stanwick, but
about two-thirds of the way through
the

shoot

[producer]
Steve
McEveety asked me what I thought
about doing a digital intermediate
on the picture," Semler says. "I
thought it sounded great. I'll
embrace any technology that helps
me
get to where I want to go. So he

rescue.

Given that

pursued it, and right at the end of
the production we found that we
were
going to do it."

shooting in
were so similar, perhaps there's
something we can add to those
scenes with the patrol, a little visual
hint that will help the audience

Semler's introduction to the

differentiate those soldiers from the

digital world was facilitated by Efilm
Digital Laboratories president Joe E.
Matza and director of digital master¬
ing Mike Kanfer, who offered him a
complete presentation of their

landscapes

we were

other soldiers.

"Of course," he adds, "the

soldiers' helmets gave us

the old
problem of shaded eyes - like what

you get

with cowboy hats

-

so we

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on

RadCam



American Cinematographer - February 2002

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