American Cinematographer - May 2008 - (Page 61)

recalls Nagle. “By the time we were close to shooting, he would come to work with me on the color and density. We always began with a default LUT that would crush the blacks and raise the midtones almost to a bleach-bypass level. With that look as a jumping-off point, we would then warm or cool the image accordingly. One of the great things about the Cine-tal monitor is its ability to store still frames in a variety of file formats. As we shot each scene, I’d use the Cine-tal to grab stills as Jpegs. Between 10 and 40 color-corrected stills were e-mailed to Company 3 at the end of each shoot day, and [dailies colorist] Dave Francis would view the stills on their CRT and grade the dailies to match our work. The process was quite simple and very effective. It also gave us an extensive library of still references for our work.” Nagle notes that Spinotti was always keen to factor in Francis’ contributions: “Dante would often say he didn’t want the grading to become an accounting process — he wanted Dave to have input, too. He didn’t like the idea of a colorist coldly applying red, green and blue information to an image without having the ability to interpret what it should feel like. When all was said and done, everyone was thrilled with the dailies process. To Company 3’s credit, they were always spot-on.” (Colorist Stefan Sonnenfeld worked with Langenegger and Spinotti on the final grade at Company 3 in Los Angeles.) For the 35mm material, which was processed at TechnicolorNew York, Spinotti shot Kodak Vision2 250D 5205 and Vision Expression 500T 5229. “I like [Expression’s] color palette very much,” he says. “The colors aren’t as saturated as they are in Kodak’s other film stocks, especially the blues. I also like the fact that I can push it without any problems; I usu- Top to bottom: Jonathan gets to know his new date in a SoHo hotel room; during a late night at the office, Jonathan and Wyatt share a joint and enjoy the view; Jonathan at work; another visit to Chinatown, this time in the wee hours of the morning. All of these scenes were shot with the Genesis. American Cinematographer 61

Table of Contents Feed for the Digital Edition of American Cinematographer - May 2008

American Cinematographer - May 2008 Contents Editor’s Note Global Village: The Fall Short Takes: ASC Laszlo Kovacs Short Takes: Heritage Award Winners Production Slate: Anamorph Production Slate: Fugitive Pieces Heavy-Metal Hero A Need for Speed Kink and the City Beautiful Minds A Hollywood Homecoming Post Focus: Paramount Restores The Godfather Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Antonio Calvache

American Cinematographer - May 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.