American Cinematographer - February 2007 - 47
Grenouille murders the plum
printed it to Vision Premier, the
and we
completely lost Grenouille in the
shadows. Even with the regular
used selective
Vision stock, we
extraordinary color we wanted. The
DI was definitely helpful with that.
for
Second,
the
where
scene
girl, we
coloring for her death.
I wanted her dead skin to be very
pale, almost
pure
white. This
was
much, much easier to do in the DI
than with
makeup and lighting, and
it was much faster. Over the
course
of
of
we
had to do
a
number
deep shadows. When we finally hit
the right LUT, it worked perfectly."
After
the
negative was
scanned at 2K
colorists Florian "Utsi" Martin and
on
an
Traudel Nicholson,
color
Autodesk's Discreet Lustre, tackled
gray/white, and it
worked wonderfully."
very
The filmmakers decided to
on Kodak's regular
forgoing the contrastier
rushes from Arri
moments
are
some
in the film, like when
Baldini opens the door and finds
Grenouille in the shadows, that were
just on the edge of exposure,"
explains Griebe. "It looked absolutely
perfect in the DI suite, but when we
TECHNICAL SPECS
working with
2.40:1
Super 35mm (3-perf)
Arricam Studio, Lite; Arri 435
dates compressed the grade into
mere eight weeks. "Actually, our
a
much
so
one!"
■
ery
Vision 2383,
Vision Premier. "There
next
different sections of the film; deliv¬
print Perfume
Arri, Angenieux and
fantastic, so
that Tom came out of edit¬
Kenworthy lenses
were
Kodak Vision2
500T 5218, 200T 5217,100T 5212
ing and told me he wanted the final
coloring just like the rushes!" recalls
Griebe. The color-corrected files
were
a
we were
Arriscan,
took her flesh tone from its natural
to a
tight schedule, 70 days,
often forced to simplify
and only get what we absolutely
needed. That kept the shoot very
fast-paced and exciting. Now, after a
nice rest, I am looking forward to the
that
get the LUT just
capture
such
on
right so
wouldn't lose his detail in the
tests to
that sequence, as
Grenouille tries to
the scent of her body, we
rience," Griebe concludes. "We shot
blacks became too strong
filmed out at 2K with
Digital Intermediate
an
Printed
Arrilaser Recorder.
on
Kodak Vision 2383
"Perfume was a fantastic expe¬
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