American Cinematographer - October 2002 - 51

ing skin tones and enhancing
color in some parts of the

but with digital timing you have to

sit

there and tweak it. It's

us

frame. The idea

about three weeks

a

between

contrast

Frida

was

what she

was to create

what

telling Diego and
actually experi¬

"but for

was

cinematographer,
anticipating digital
on

way,

should

Prieto.

improvement over telecine work: "At

"Traditional

scene

that

comes

up

the way the nega¬
originally exposed. In
telecine, the timing you put into one
appears

was

over

into the next one,

and you don't have a reference for
zero color correction. But at EFilm,

shot starts at zero, and if it
comes up and looks great,
you can
say, 'Don't touch it.'
"With
digital technology,
every

Diego are such
big icons,
especially in

film like this it's worth it. I

Mexico, that

making this
movie

■

both

was

an

honor

big
responsibility,"
way

shot carries

"Frida and

and

color-timing is finally the

[onscreen]

a

it's Frida."

ing features 8 Mile and The

tive

perspective.

his upcom¬

25th Hour, says EFilm's proprietary
ColorStorm process is a great

EFilm, each

Prieto's

finish Frida"

to

can't say that every film needs it, but
if there's one that asks to be done this

The

intermediates

Hayek takes in
the view from

"Digital timing is definitely a
longer process," Taymor concurs,

encing."
who is

taking

be,"

continues

timing has always frus¬
trated me a bit, because you talk in
theory about adjustments with the
timer, and the next day you screen
the results, then you talk again, and
then you screen it again. With digital,
you see what you're talking about
right away." The downside, however,
is the time-consuming nature of the
work. "Timing a feature traditionally
takes about 10 days, and you don't
have to stay at the lab the whole time,

Prieto says.

TECHNICAL SPECS

it

a

1.85:1
Moviecam

Compact; Arriflex 435

Zeiss Ultra Primes

Kodak Vision 200T 5274,
Vision 250D 5246,
Vision 500T 5279,
EXR50D 5245, SFX 200T

Digital Intermediate by EFilm
Printed

on

Kodak Vision Premier 2393

The Look
Kino Flo®

of

Kino Flo® True Match®

lighting mixes seamlessly with
tungsten or daylight sources.
It's as soft as butter and so
cool it won't melt the talent.

Versatile, lightweight Kino
Flos can hang just about

anywhere. They set up quickly
and require very little power.
Visit the Kino Flo website
to

find

out

True Match

more

about

lighting.

KINOFLO.COM
KINO

FLO

LIGHTING

SYSTEMS

Image captured with
Blanket-Lite 6x6

as

shown.

Sun

Valley, CA * Ph 818-767-6528 * Fax 818-767-5912



American Cinematographer - October 2002

Table of Contents for the Digital Edition of American Cinematographer - October 2002

American Cinematographer - October 2002 - 1
American Cinematographer - October 2002 - 2
American Cinematographer - October 2002 - 3
American Cinematographer - October 2002 - 4
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American Cinematographer - October 2002 - 126
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