American Cinematographer - February 2007 - 46

Deadly Scent
experience with

DI, and during

a

prep he had a long talk with
Peter Doyle, whose credits

colorist
include
The Lord of the Rings and the last two
Harry Potter films. "Peter was in
Germany while we were prepping
Perfume," says Griebe, "and he gave
me a very
interesting take on the DI
process. He said I should [shoot the
movie] as though I were finishing it
photochemically. He said, 'That's the
best way to approach a DI.'
Sometimes cinematographers rely on
the DI process to refine their lighting,
and although that can save time on
set, the result looks different to
Griebe and

Griebe

lighting tool on
Perfume: the Barger Bag-lite. "I read
about the Barger light in American
Cinematographer and was very
intrigued by it. We sometimes have
trouble with American lights in

some

extras on

location in

France, where
the

production
traveled to

capture lavender
fields in bloom.

to

I'd rather do it

Barger. Arri brought in six of them
for us, and they were perfect. I like
them very much and used them with
Chimeras, or sometimes we just used
them as large bounce sources. They
don't take up a lot of room but they
put out a lot of light. It became one

try a new

Europe - some of them don't pass
European safety standards. But there
was no problem at all with the

of the fixtures

we

use
digital-grading
considerably on two key
sequences," he continues. "First,
because of scheduling, we arrived in
the lavender fields one week too early

tools

used the most."

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Table of Contents for the Digital Edition of American Cinematographer - February 2007
