American Cinematographer - June 2008 - (Page 37)

comes apart.” Except for the few weeks the filmmakers spent on location, Kaminski screened dailies at Technicolor in Los Angeles throughout the shoot; Terry Hagger was the dailies color timer. “I haven’t done a movie yet where I didn’t watch dailies, and usually they’re printed,” says Kaminski. “While we were on location, we viewed projected film dailies.” The cinematographer supervised Crystal Skull’s digital intermediate (DI) at EFilm, where he worked with colorist Yvan Lucas. It was Kaminski’s first feature-length DI since The Terminal (AC July ’04). “I see a great advantage in digital timing because I can control the secondary colors, particularly in people’s faces,” he notes. “On this movie, I was constantly fighting different tonalities between the principal actors. With the DI, you can play with tiny changes in red, green and blue in order to conform the flesh tones; you would never be able to do that photochemically. “I think DI technology has improved immensely, but the trick is to work with someone like Yvan, who really understands conventional timing,” continues Kaminski. “He works on a machine [EWorks] that allows him to apply conventional controls; he’s got red, green and blue, and he’s got points. It’s the same language as photochemical timing, and that not only made me comfortable, it also allowed Terry [Hagger] to be part of the process. This is the first time that the digital image I see matches what I’m getting on a film print, and that’s great.” Taking stock of his contribution to the Indiana Jones mythology, Kaminski muses, “It was a tremendous honor to follow in Douglas Slocombe’s footsteps and continue the visual style he established. At the same time, I was happy to be able to create my own interpretation of the material, because this movie takes place 20 years later. Overall, it was great to be part of the legacy of Indiana Jones.” I TECHNICAL SPECS 2.40:1 Anamorphic 35mm Panaflex Millenium XL; Arri 435, 235 Panavision E-series, C-series and Primo lenses Kodak Vision2 250D 5205, 500T 5218 Digital Intermediate Printed on Kodak Vision Premier 2393 FOCUS IN NEW DIMENSIONS WITH THE PIVOTING HAND GRIP FOLLOW FOCUS „STUDIO“ Adjustable hand knob sensibility Adjustable overload savety Unique operation-ergonomy due to panable hand knob 45° 0° 40° www.denz-deniz.com · Tel: +49 89 - 62 98 66 0 · Fax: +49 89 - 62 98 66 20 37 http://www.denz-deniz.com http://www.denz-deniz.com

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

American Cinematographer - June 2008 Contents Editor's Note Short Takes: "100 Days, " Sharon Jones and the Dap-Kings Production Slate: Mongol Production Slate: Greensburg Vintage Indy A Prince in Peril Women's World 90 Years of Precision Post Focus: A 3-D Imax Work Flow for Wild Ocean Post Focus: 3cP Incorporates ASC CDL on State of Play Filmmakers' Forum: John Baily, ASC New Products & Services International Marketplace Classified Ads Ad Index ASC Membership Roster In Memoriam: Gayne Rescher, ASC Clubhouse News ASC Close-Up: Rob McLachlan

American Cinematographer - June 2008

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