American Cinematographer - September 2004 - 93

Reflections: Two Brothers
bled the

images he had seen on the
during production.
Both Dreujou and Lucas were
delighted to work with the same
yellow, cyan and magenta points that
are used in photochemical color
timing. "My origins are in photo¬
chemistry," notes Lucas. "I came to
digital because I wanted to follow the
evolution of the technology, but my
heart still beats for photochemical
treatments. I hope one day to
combine digital and photochemical
techniques to create a new look."
Two Brothers' final graded
image file was transferred from the
hi-def monitor

Lustre to the

recorded

Arrilaser, where it

onto Eastman

was

2242 inter¬

mediate film. The Arrilaser output
six 15- to 20-minute reels that served
Above: The

Discreet Lustre
allows for
"Power

Windows"
defined

by

polygons. These
windows
move

can

during the
shot. The

polygon shown
here (also taken
from the Lustre

proxies) has
been lightened
for illustration

purposes.

Right: A flow
chart of the

hybrid Dl
process at

Eclair, showing
the different

image formats
used.

as a "negative" for a traditional
photochemical process that involved
contact printing to an interpositive
(IP) and internegative (IN), all on
2242. The release prints were then

made

on

Kodak Vision 2383.

Soeiro

explains that Two
graded using Lustre
"proxy" images that had lower reso¬
Brothers

was

lution than but identical color values
the HD

to

originals. These smaller

proxy images were sized to match
the 1280-pixel width of the "IK"
Barco DLP 50

projector. The proxy
manipulated in real
time on the Lustre, while the original
HD images were conformed offline
by a "render farm."
DIs would not be possible if
the projected digital images did not
accurately represent the final result
images

on

were

film. Soeiro credits the 3-D

Display LUTs that Eclair developed
in-house for enabling great precision
in mimicking the way the image will
look on positive film stock. Whereas
a

"normal" (2-D) LUT transforms

individual red, green or blue values
from one colorspace to the other, a
3-D

LUT establishes

correspon¬

dences between actual colors defined

by triads of red,
Notes Soerio,
you can

80

September 2004

green

and blue.

"With this method,

decide, for example, that the



American Cinematographer - September 2004

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