American Cinematographer - September 2004 - 97

Reflections: Two Brothers
From left:

roughly one week, during which the
cinematographer attends projec¬
tions, gives notes to the color timer,
and only comes back to see the next
print. Digitally grading Two Brothers

Cinematographer
Jean-Marie

Dreujou, AFC,
colorist Yvan
Lucas and
colorist Bruno

took

Patin sit at the
Lustre control

almost

two

months

Dreujou's time; the ability to stay on
shot and grade any area of the
frame means that the dialogue
between cinematographer and timer

panel in a Dl

one

suite at Eclair

Laboratory
outside Paris.

is much

detailed than it has to

be in traditional

timing. "If you truly
signature on the
film, you have to organize your
schedule so you can be available -
even if it means turning down other

want to

leave your

films," he says.
one-third of the shots,

including
effects shots. We typically used
them to boost the green of the jungle
and the color of the tigers fur - we
many

had

match the color of 30 differ¬

tigers! We also used windows to
bring down the HD skies."
The greater capabilities of
ent

Digital grading is changing the
of cinematography by creat¬
ing a kind of "virtual cinematogra¬
phy," whereby the cinematographer

digital grading have made postpro¬
duction a more protracted process,
and many cinematographers are
concerned that productions are not
allowing for a lengthy digital timing
when they make deals with directors
of photography. Dreujou observes
that photochemical grading takes

nature

can

use

software in post to create

virtual filters, flags or T-stop changes.
"Because of these tools, I will some¬
times live with certain

problems

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I-ll -

American Cinematographer - September 2004

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