American Cinematographer - August 2012 - 45

To create the 35mm version, the
post team combined the original 35mm
anamorphic material with 4K filmed-out
negative created from 8K scans of the
65mm negative. (These anamorphic
extractions were done by Custom Film
Effects, and all filmouts were performed
by Warner Bros. Motion Picture
Imaging.) After the work print was
approved, negative cutter Mo Henry
used it as the template for cutting the
35mm-negative version of the film.
Another cut list corresponded only
to the 65mm material,
from which a
work print containing the flat 1.43:1
reductions was conformed along with
slugs representing the anamorphic 35mm
material. Keighley used this work print to
conform the 65mm original negative,
replacing the slugs with the corresponding
65mm blowups, which were filmed
out from 6K scans of the 35mm photochemically
color-timed IP. This 65mm
cut negative then became the basis for
creating the 70mm Imax prints.
Technicolor color timer David
Orr color-corrected the 35mm answer
print first, then went to DKP 70mm
Inc. to assist with timing the Imax
version, which required a different set of
printer lights. The original camera neg
and dupe negs were meticulously
cleaned before being wet-gate printed
for the theatrical release.
“Out of the 100 or so Imax prints
that were made, a limited number were
show prints struck from original Imax
camera negative,” says David Hall.
Those prints are showing in Imax
venues in select cities, including Los
Angeles, New York and London. “Chris
very much likes to see an original
camera negative printed to film,” he
notes. “There’s nothing quite like it.
Digital technology has certainly come a
long way, but a print from a DI never
looks quite the same.”
“Anybody who sees an original-
negative print of a film shot in Imax is
looking at the best image quality avail-
able to filmmakers today,” Nolan
observes. “As long as any new technology
is required to measure up to that, I
think film has to remain the future.”
Pfister concurs, adding, “An artist
has to be open to new technology, but
my argument is, ‘Don’t make this equipment
obsolete for the wrong reasons,
because this format really is superior to
anything else out there.’”
●
TECHNICAL SPECS
2.40:1 and 1.43:1 Imax
65mm and 35mm
Imax MSM 9802;
Panaflex Millennium XL;
Arri 235; Beaucam
Mamiya; Hasselblad; Panavision
C-Series, E-Series, High Speed
Kodak Vision3 500T 5219,
250D 5207
45
http://www.congofilms.tv

American Cinematographer - August 2012

Table of Contents for the Digital Edition of American Cinematographer - August 2012

American Cinematographer - August 2012
Contents
Editor’s Note
Short Takes: New York Story
Production Slate: 360 • Midnight in Paris/To Rome with Love
Batman to the Max
Web-Slinging in Stereo
Memory Upgrade
Vampire Veto
Post Focus: Man, Chicks Are Just Different
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: David Boyd
American Cinematographer - August 2012 - American Cinematographer - August 2012
American Cinematographer - August 2012 - Cover2
American Cinematographer - August 2012 - 1
American Cinematographer - August 2012 - 2
American Cinematographer - August 2012 - Contents
American Cinematographer - August 2012 - 4
American Cinematographer - August 2012 - 5
American Cinematographer - August 2012 - 6
American Cinematographer - August 2012 - 7
American Cinematographer - August 2012 - Editor’s Note
American Cinematographer - August 2012 - 9
American Cinematographer - August 2012 - 10
American Cinematographer - August 2012 - 11
American Cinematographer - August 2012 - Short Takes: New York Story
American Cinematographer - August 2012 - 13
American Cinematographer - August 2012 - 14
American Cinematographer - August 2012 - 15
American Cinematographer - August 2012 - 16
American Cinematographer - August 2012 - 17
American Cinematographer - August 2012 - Production Slate: 360 • Midnight in Paris/To Rome with Love
American Cinematographer - August 2012 - 19
American Cinematographer - August 2012 - 20
American Cinematographer - August 2012 - 21
American Cinematographer - August 2012 - 22
American Cinematographer - August 2012 - 23
American Cinematographer - August 2012 - 24
American Cinematographer - August 2012 - 25
American Cinematographer - August 2012 - 26
American Cinematographer - August 2012 - 27
American Cinematographer - August 2012 - 28
American Cinematographer - August 2012 - 29
American Cinematographer - August 2012 - Batman to the Max
American Cinematographer - August 2012 - 31
American Cinematographer - August 2012 - 32
American Cinematographer - August 2012 - 33
American Cinematographer - August 2012 - 34
American Cinematographer - August 2012 - 35
American Cinematographer - August 2012 - 36
American Cinematographer - August 2012 - 37
American Cinematographer - August 2012 - 38
American Cinematographer - August 2012 - 39
American Cinematographer - August 2012 - 40
American Cinematographer - August 2012 - 41
American Cinematographer - August 2012 - 42
American Cinematographer - August 2012 - 43
American Cinematographer - August 2012 - 44
American Cinematographer - August 2012 - 45
American Cinematographer - August 2012 - Web-Slinging in Stereo
American Cinematographer - August 2012 - 47
American Cinematographer - August 2012 - 48
American Cinematographer - August 2012 - 49
American Cinematographer - August 2012 - 50
American Cinematographer - August 2012 - 51
American Cinematographer - August 2012 - 52
American Cinematographer - August 2012 - 53
American Cinematographer - August 2012 - 54
American Cinematographer - August 2012 - 55
American Cinematographer - August 2012 - 56
American Cinematographer - August 2012 - 57
American Cinematographer - August 2012 - Memory Upgrade
American Cinematographer - August 2012 - 59
American Cinematographer - August 2012 - 60
American Cinematographer - August 2012 - 61
American Cinematographer - August 2012 - 62
American Cinematographer - August 2012 - 63
American Cinematographer - August 2012 - 64
American Cinematographer - August 2012 - 65
American Cinematographer - August 2012 - 66
American Cinematographer - August 2012 - 67
American Cinematographer - August 2012 - Vampire Veto
American Cinematographer - August 2012 - 69
American Cinematographer - August 2012 - 70
American Cinematographer - August 2012 - 71
American Cinematographer - August 2012 - 72
American Cinematographer - August 2012 - 73
American Cinematographer - August 2012 - 74
American Cinematographer - August 2012 - 75
American Cinematographer - August 2012 - Post Focus: Man, Chicks Are Just Different
American Cinematographer - August 2012 - 77
American Cinematographer - August 2012 - 78
American Cinematographer - August 2012 - 79
American Cinematographer - August 2012 - New Products & Services
American Cinematographer - August 2012 - 81
American Cinematographer - August 2012 - 82
American Cinematographer - August 2012 - 83
American Cinematographer - August 2012 - 84
American Cinematographer - August 2012 - 85
American Cinematographer - August 2012 - International Marketplace
American Cinematographer - August 2012 - Classified Ads
American Cinematographer - August 2012 - Ad Index
American Cinematographer - August 2012 - 89
American Cinematographer - August 2012 - Clubhouse News
American Cinematographer - August 2012 - 91
American Cinematographer - August 2012 - ASC Close-Up: David Boyd
American Cinematographer - August 2012 - Cover3
American Cinematographer - August 2012 - Cover4
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