American Cinematographer - March 1993 - 59

Bridging the Gap
Between Production and Post

Postprducin

by Marji Rhea
The

have is that editors are at odds with

relationship between cinema¬
tographers and colorists and video
post people has been somewhat
adversarial in the past (especially in

them," suggests Mad River Post

trust in clients who keep coming
back to work with me," says Hugh

editor Michael Elliot. "Post people
like input from directors of photog¬

Fitzpatrick, a senior colorist at Na¬
tional Video Center. "Occasionally

the realm of television), but these

raphy because knowing the intent

have been enjoying

of what was shot in advance makes

there's a client who needs to be
shown that color correction is much
more than
'timing' a print, but most

two groups
more

mutual

cinematographers

appreciation
lately as top di¬
rectors of pho¬
tography learn

come in know¬
ing the range of
options I can
give them."

to work with

"Get¬

the talents and

ting to know
how things are

capabilities of
their counter¬

done at our end
what our ca¬

parts in the post
suite, and vice
versa.

-

pabilities are -
helps to cut

Recently,

asked some
video post tech¬
nicians for their
views on this relationship.
One concern, expressed by
several technicians, is the trepida¬
tion with which many filmmakers

down the anxi¬

we

ety of working
in video

you need [and]
what
look

approach post work. The
technology can be daunting, and
seem

to

you're going

the field has advanced so consider¬

for,

ably since the first days of video
post, that many cinematographers
simply aren't aware of the wonders

use our

the technicians

can

you."

work.

Mad

to feel that we

(in video)

River Post edi¬

understanding of the nuances,
beauty of the film im¬
age. This may have been true in the
early years of video, but is not true
today. At Action Video, we have
specialized in commercials, which
were [among the first forms] to
textures and

on

film and finish

on

tor Lucas Eskin

that
"when shooting

notes

are

not

shoot

so we can

creative
talents to help

Says Alana Ireland, vice
president of sales and marketing at
Action Video: "Cinematographers
seem

post,"

says Taylor.
"Above all, let
us know what

tape.

Traditionally, feature film cinema¬
tographers have also worked in
commercials, so we have always
been sensitive to the needs of the
film eye."
"One of the biggest mis¬

conceptions cinematographers

the entire process
for all."

faster and easier

Rick Taylor, a

telecine col¬

orist at Action
want

our

good

as

Video, agrees. "We
client's project to look

much

they do. Some¬
don't
know us think of us as button push¬
as

times cinematographers who

ers,

but

we

do have

a

full under¬

for television, one should keep in
mind the capabilities of telecine and
other postproduction devices. Gen¬

erally, if I get clear, well-exposed
negative, I can manipulate the im¬
age to my heart's content. In-camera effects, such as
heavy color or
partial filters, reduce my possibili¬
ties."

Good exposures are

standing of film and how to trans¬

im¬

late their film look to video."
A film crew familiar with
the post processes is infinitely help¬
ful to the post project. "It's the lack
of misconceptions that has built the

portant. "Although we have a great
deal of latitude in post transfers,"

March 1993

American

adds

Taylor, "the best results are
obtained with the best exposures."
Elliot Lao suggests lighting for

Cinematographer

57
American Cinematographer - March 1993

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