American Cinematographer - September 2008 - (Page 74) A Long-Awaited Redemption Top: This shot of a nighttime carriage ride illustrates some of the damage the original negative sustained over the years. Bottom: The restored image. imagery, he had to have two lenses in front of the camera: a primary Bausch & Lomb lens and an anamorphic adapter attached to it. The Eastman 5248 color stock used for the movie had an ASA of 25 (tungsten) and 16 (daylight). In addition, Matras frequently used colored gels on the lights. “Matras was very skillful at work- ing in color,” says Ede, adding that this was relatively unusual at the time. “We mustn’t forget that the first color films in France appeared in 1952-3, so very few cinematographers had made color films.” Lola Montès was Ophüls’ only color film, and he wanted to use that capability to the utmost. In his notes on the movie, he wrote that he wanted it colorful, particularly the part that takes place in the circus, which he described as “like an American tie.” According to notes by costume designer Georges Annenkov, Ophüls asked Annenkov to make the spectators in the first three rows of the stands human-sized papiermâché puppets with completely black-and-white faces and costumes so that the onstage action would have the “screaming multi- www.theragplace.com FABRICS, EQUIPMENT & SERVICES FOR THE MOTION PICTURE & ENTERTAINMENT INDUSTRY 13160 Raymer Street, North Hollywood, CA 91605 PH 818-765-3338 FX 818-765-3860 74 http://www.theragplace.com http://www.theragplace.com
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