American Cinematographer - September 2004 - 92

Opposite: The
tiger

shot of the

in the HD wide
shot

was

intercut with the
35mm

close-up.

Both shots
contain virtual
fire elements.
The raw images
are

shown

on

the left, and the

digitally graded
images are on
the right. This
page, top left: A
Buddhist

woman

in a shot
involving
different grading
prays

windows for the

patches of blue
sky and orange
interior. These

shots,
the

as

well

as

tiger images,

were

taken

directly from the
Lustre proxies.

HD

designed to treat the
project "as if it were shot entirely on

effects sequences were composited
and "pre-graded" before they were

film." First, all of the 35mm and HD

transferred

timer with 40 features to his

footage was transferred to

grading.

credit,

including Delicatessen, City of Lost
Children and Seven (all shot by
Darius Khondji, ASC, AFC), as well
as Amelie (shot by Bruno Delbonnel,

LESUanbtcuoiavrdletnrisoiiaessl.

ocurftesy

Phot s

Brothers

project; he has since
photographed two more.
Lucas is a pioneering color

50

France last year,

of the national

Films

made

in

roughly one quarter
output, made use of
and Eclair has estab¬

a

Discreet

Smoke workstation. The HDCam

image was converted from its native
YUV video format to RGB, the

Frederic Moreau

to

Before
the HD

the Lustre for final
in the Lustre, all of

use

images

from linear

to

supervisor

notes

that Two

Brothers has almost 550 visual-effects

conversion

was

"one of the delicate

steps" in the post process, and that
the conversion look-up table (LUT)

shots, many combining HD, 35mm

was

the DI process,
lished itself as a leader in the field.

and

detail in the dark

Two Brothers presented some unique
challenges in that it was shot mostly

between HD and film, the 35mm

in HD; 35mm was used for about 15

of the picture.
Philippe Soeiro, creative direc¬
tor at Eclair, explains that the post¬
production workflow for Two
percent

computer-generated (CG)
To create uniformity

transferred
log format.
this colorspace

were

10-bit

Soeiro notes that

standard.
Digital-effects

computer

AFC).
About

was

fine-tuned

to

allow for

more

He

scaled down to the HD
pixels and then
transferred to the HD depth of 8 bits
per color. In addition, grain was

explains
log format enables the cine¬
matographer and colorist to work
using film-style "printer points"
when grading on the Lustre, whereas
the linear format does not. Dreujou
cautions that perhaps because of the

removed from

conversions, the

elements.

images

were

size of 1920x1080

some

of the film

footage. Moreau explains that the

areas.

that the

raw

Lustre HD

footage needed work before it resemAmerican

Cinematographer 79



American Cinematographer - September 2004

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