American Cinematographer - October 2004 - 47

computer domain. "Right after the
shoot, I spent about six weeks help¬

had all been worth it."

so

involved with how

shoot. All I could do

she

was

in the virtual set."

With almost every

effects
small

that

shot an
composite (except for a few

scenes

were

and

shot

a

handful of inserts

practically), Adkins

made himself available

as

the 2-D

and 3-D
were

background environments
integrated and lit in the

at

the post stage

transfer my knowledge [to
the effects team]." Fortunately,
Adkins was able to spend four weeks
supervising the digital intermediate

Adkins at work

we

on

standing there wondering how
it was all going to come together, and
Gwyneth suddenly stood up and
turned into the light, and it picked up

jaws dropped

was

frame of reference for where

for the first time,

set

because he was

images were being created and
processed. Still, it felt a little odd to
let go after being so involved in the
development of the film, the exten¬
sive prep and then the physical

a

on

ing the compositors and CG lighters
understand what I was going for," he
recalls. "Then, when they brought in
CG lighting director Michael Sean
Foley, I talked him through my work
the

have

actors
were

her

new

the

bluescreen set.

Veronica Lake hairdo. Our
open,

and

we

knew it

Christopher Probst was a
operator and second-unit
cinematographer on this project. ■
camera

TECHNICAL SPECS

try to

EFilm, where, with colorist Steve
Bowen, he made one last pass at the

at

look of this unusual

project.

1.85:1

(16x9 native capture)

Sony CineAlta HDW-F900/3
Fujinon lenses
Digital Intermediate by EFilm

"After all those years

of plan¬
ning and plotting, to see what Kerry's
project became is just incredible," he
remarks. "When we finally had the

Printed

on

Kodak Vision Premier 2393
and Vision 2383

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43



American Cinematographer - October 2004

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

American Cinematographer - October 2004 - 1
American Cinematographer - October 2004 - 2
American Cinematographer - October 2004 - 3
American Cinematographer - October 2004 - 4
American Cinematographer - October 2004 - 5
American Cinematographer - October 2004 - 6
American Cinematographer - October 2004 - 7
American Cinematographer - October 2004 - 8
American Cinematographer - October 2004 - 9
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American Cinematographer - October 2004 - 110
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