American Cinematographer - December 2006 - 64

that the film has several hundred

visual effects shots, which makes it
the type of project that really bene¬
fits from the DI process. We were
able

finesse and

help bed these
seamlessly - the airport
sequence, the sinking building in
Venice, and many others. In fact,
during the climactic fight sequence
in the sinking house, we applied
to

shots in

but he still

prefers to do as much as
possible in camera. "For the most
part, I shoot the way I would if I
were finishing traditionally. The
more

correct

it is when I arrive at

has studied

it's

talk

commonly
applied during the effects work. The
effects people and editor Stuart
Baird joined us in the digital suite to
add the shake to

sent

effect

shake in the DI

that's

effects shots. It
to

-

an

more

some

was

of the

useful

review the work

on

to

non¬

be able

the entire

artists work

or

view

In the old

screens.

on

different

days, [those

shots] would be output to film till
they looked right. Now they're

time."

there
Casino

Meheux's
third feature DI, and he says he loves
the control the technology offers,
Royale

was

was

photography. We could
wavelength, which
a
great help."
■
on

the

TECHNICAL SPECS

Super 35mm 2.35:1
Arricam Studio, Lite; Arri 435,235
Cooke S4 and

are

often differences in color

contrast

final

when it

comes

to

the

grade because the [effects

teams]

were

unable to

see

Angenieux lenses

Eastman Plus-X 5222;
Kodak Vision 200T 5274,

500T 5279

ingested as digital information, and
and

same

different facilities whose

to

in the DI suite, rather than
on a
shot-by-shot basis, and to
modify and refine the effect in real
sequence

digitally projected with print

emulation, the way we can in a DI
facility. The DI process can sort
these things out. I was fortunate to
work with Adam, a top colorist who

the DI house, the

quicker and easier
going to be to grade it. Digital
post tools are no replacement for
getting the exposure right and
making sure your lamps all match.
I still want to get it right in the first
place. However, DIs are perfect for
films with a lot of digital effects.
Nowadays, because of time
constraints, many effects shots are

some camera

work

Digital Intermediate
Printed

on

Kodak Vision 2383

their

Bright and beautiful, the

ParaBeam 400 studio
fixture delivers 3,000
Watts worth of tungsten soft

light-without the neat and
using only 2 Amps of power!
Its brilliance owes to a special
parabolic reflector that practi¬
cally turns light waves into projectiles.
Rotate the center mount and the horizontal beam
shoots vertical. Slic^ in your choice of focusing
louvers to spot the beam down to a 90°, 60° or 45°

pool of light. DMX, analog and manual controls can
lamps display pro¬

dim the light to black. True Match®
fessional daylight and tungsten

quality illumination (CRI 95).

Like all Kino Flos, the ParaBeam is
flicker free and dead quiet. ^
If you think the ParaBeam
looks good on paper, wajt 'til
you see

how it looks

on

film.

www.kinoflo.com
American Cinematographer - December 2006

Table of Contents for the Digital Edition of American Cinematographer - December 2006
