American Cinematographer - September 2004 - 98

during shooting because I know I
to fix them in post," says
Dreujou. "Say, for example, that the
walls are too bright. It may be
complicated to set up a bunch of
flags, and it will take time to adjust
will be able

them. I

now

know that I will be able

to

darken the walls very easily in post,

so

I may not

the

take a half-hour to solve
problem on the set. However, if

the

cinematographer isn't there to
make that change in post, it won't get
done, and then the image won't be
what he or she wanted. In general, it's
dangerous to not be present during
post."
Dreujou adds that a cine¬
matographer needs to have clear
objectives in order to avoid getting
lost in the endless possibilities of
digital grading. "If you don't go in

Usually, I want to reproduce what I
have created

on

the set."

TECHNICAL INFORMATION

Dreujou confesses that he
now relies on virtual
grad filters
instead of putting the real thing in
front of his lens. "I used

to use a

Format: 2.40:1 extraction from
HD capture:

lot

Digital Primos

grads, but now I use hardly any.
It's complicated to move a grad
during a shot, but it's very simple in
post. I still use 85s and colored filters
want to

deliver

Film capture:

more

about the

Arri 435, Primo lenses

Original elements: HDCam videotape and
35mm Kodak and Fuji negatives

a

neutral

image. In some cases, it
might be easier to not use filters
during the shoot, but I'm deeply
attached to the notion of giving an
intention to the image on set. Time
is precious in production, but as
cinematographers, we've been asked
to put a story in images, and we
must do that from the very begin¬
ning until the very end."
■

Effects

image format: 1920 x 1080 pixels, RGB,
8bit linear

Grading image format: 1920 x 1080 pixels,
RGB, lObit log
Tools used: Phillips Spirit DataCine,
Discreet Smoke, Flame & Inferno,

Discreet Lustre, Eclair 3D Display
Barco DLP 50 projector,
Arrilaser Film Recorder

with firm intentions, your image can
end up all over the place. Now that I

have

Sony HDW-F900 and HDW-F950,

of

because I don't

Super 35 and HD

LUT,

Intermediate Film: Eastman Kodak 2242

experience, I think a lot
timing during the shoot.

Printed

on:

Kodak Vision 2383

Oh! the

places you'll go with Kino Flo®'s
lightweight Kamio® ringlight and
matte box system! Its unique halo of cool,
new

0

soft illumination

<**

|||

...

■ ■ tUi.

*"

^

ideal

beauty
A
light in the studio
- '
or on location. The ingenious lens
mounted Kamio weighs under a pound and can dim
smoothly on battery or house power. Like all Kino Flos,
is

the

new

an

Kamio is flicker- free and color correct for film

and FID imaging.

kinof
www.Kinono.com
10848 Cantara Street Sun

Valley CA 91352

*

818 767 6528 voice 818 767 7517 fax
85



American Cinematographer - September 2004

Table of Contents for the Digital Edition of American Cinematographer - September 2004

American Cinematographer - September 2004 - 1
American Cinematographer - September 2004 - 2
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American Cinematographer - September 2004 - 127
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