American Cinematographer - December 2006 - 112

Angeles and did some initial
grading with Jeff Smithwick at
Technicolor Digital Intermediates
[TDI]. We set the look for some
sequences, mostly in Morocco, in
those few days, and the producers
to Los

Tommy when he pulls up next to
her at the intersection, we used a
bounced 2K for soft

light.
night scene that shows
Jamal getting shot in a diner, we
truly lit the exterior. For the diner,
we used a building that was being
renovated and was not internally lit,
and the area surrounding it was
pretty dark as well. In terms of the
story, I felt the police surrounding
For the

the diner would have lit the
we

had lots of

off

camera,

police lights

were

over

and

and searchlights from a

two, we

used

a

12K Par to simu¬

late

[that light] from the top of a
nearby building and 18Ks to light
the buildings in the background.
How long did it take you to
grade the picture and complete the
post process?
Pierce-Roberts:

finished shooting in

When

we

Spokane, I went

here to London with Jeff, who

already done a basic grade fol¬
lowing my cues. Once Jeff and I fin¬
ished the grade in England, he was
able to go back to California and
supervise the final transfer to 35mm
and the timing of the answer print.
It was great to have Jeff involved,
because we had consistency. During
the film-out process, he was looking
at the digital grade on one side of
the screen and the print on the
other, so there was no question of a

mind can play tricks on
"Oh, I don't remember it

tem, your
-

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TECHNICAL SPECS
2.37:1

High-Definition Video and 35mm
HD:

Thomson/Grass Valley Viper
Zeiss

DigiPrimes, 6-24mm
DigiZoom;
Fujinon 10-100mm zoom
35mm:
Arri 435 Extreme
Zeiss Ultra Primes;

Angenieux Optima 24-290mm
zoom

Kodak Vision2 500T 5218

Digital Intermediate

mismatch. Without this kind of sys¬
you

two were

identical.

had

we

had

helicopter overhead. Because we
only had the helicopter for an hour
or

show what

to

Technicolor ensured the

graded at Cannes. Once the picture
was cut, they simply sent the data

area, so

on

able

looking like this." But there it is:
your grade and your print.

Printed

on

Kodak Vision 2383

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Arriflex 435/535

immediate change
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eyepiece from -5 to +5 diopter
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103
American Cinematographer - December 2006

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