American Cinematographer - December 2004 - 91

level of exposure

and avoid shadows.
thing would
go flat and become bland. We hung
about 300 space lights evenly over
the whole stage, but in a designated
area that I knew would be covered
by
a CG set piece, I had the crew lower
I

a

was

worried the whole

section about 30 feet wide to

about 10

or

a

level

12 feet from the studio

floor. That gave the light some direc¬
tion while allowing the actors to

anywhere; it became a big, soft
light within the set, mostly side¬
lighting the actors. The light had
some direction, yet we were also able
to avoid creating shadows, so the
effects team could pull their keys
with no problems. I was actually
quite pleased with the results."
Levy spent four weeks super¬
vising the DI on The Life and Death
of Peter Sellers at EFilm in Los
Angeles, where he worked with
move

colorist Steve Scott. The

negative

was

It's that

what your current

on-line at

own

place

on

or

2K, color-corrected, and

out at 2K.

if we could have involved Steve in the

preproduction testing and the shoot¬
ing," says Levy, "but at that point we
hadn't settled
do

on

whether

DI in the U.S.

we

would

England.
When we were ready to do it, I
insisted on working with a projected
[digital] image, and at the time, that
meant doing it at EFilm."
Like many of his colleagues,
Levy has mixed feelings about the
power of DI to alter original photog¬
raphy. "It's wonderful, if you're there
to control it. But it's too powerful a
tool to place in the hands of produc¬
ers and directors, because
doing so
could undermine the cinematogra¬
pher's authorship and final control
of the image." He notes that he is
rather conservative in the digital
suite. "I like to get as much in the
our

or

negative

that what

possible. I'm old-fash¬
was

trained to believe

came out

of my camera

finished artwork, ready for the
audience to see. With CG and digital

was

post, image capture is

becoming
gathering raw material to
manipulate later. I believe you
should put as much as possible on
the negative, and the rest should just
be fine-tuning."
■
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like

TECHNICAL SPECS
1.85:1
Panaflex Millennium XL, Gold II
Primo lenses

Kodak Vision 250D 5246,
Vision2 500T 5218,
Eastman Double-X 5222

Digital Intermediate by
EFilm

1W max RF output
with 6 selectable

why the
set. To find out
you

as

ioned, in that I

see

transmitter should be offering

lentequip.com

to

(The picture will be
released theatrically in overseas
markets.) "It would have been great

good. After using it once you'll

CanaTrans''4 deserves its

us

cut 35mm

scanned at 4K, down-

rezzed

filmed

/

power

levels.

visit

call: (416) 406-2442

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"

mounting
plate.

Compact design

12V
auto

or 24V
detection.

Industry standard
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LMiOUIP
87



American Cinematographer - December 2004

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