American Cinematographer - March 1993 - 69

No matter how many

times you see them...

constraints, Anderson notes, "the
first director of photography hired
for the show was an individual
who was very particular and very
concerned about the limitations of
16mm. Consequently, he took a lot

of time

lighting his sets."
The images that this care
produced were spectacular, espe¬
cially after the footage was color-

LEE Filters
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corrected and transferred via the

technology at the telecine
operator's command-technology
such as grain reduction and noise
reduction that produced a rich
print instead of the bright, blown-

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out look of too much film-to-video

footage on television. "A lot of pro¬
ducers came to us at CFI and asked
if the show was shot on 35mm or
16mm. They were taken with how

good the show looked," Anderson
says.

However, the producers
of the show, perhaps because of the

tight budget restrictions in latenight TV, couldn't afford the time
the director of photography was
taking with the lighting and re¬
leased him, bringing in another di¬
rector of photography who worked
more
quickly and used a faster film
stock.
"The show that used to

INTERNATIONAL.

look like

good 35mm," Anderson
says, "now looked like poor 16mm.

No matter what

film

we

did with the

transfer, we couldn't make up

for the difference between

a

well-

exposed negative and one that was
not so well-exposed. [To compen¬
sate,] we did a scene-to-scene color
correction of the dailies, which is
somewhat unusual. We were able
to make some footage that was on
the border of exposure a little bet¬
ter than normal in the dailies

stage."

A

CONGRATULATING

ONE OF

OUR OWN UPON RECEIVING
THE ASC*S LIFETIME

ACHIEVEMENT AWARD

On Behalf
Local

666, Its Officers, Members and Staff

Larry Gianneschi
Business

of

Representative

Robert D. Pasquale
President
67



American Cinematographer - March 1993

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