American Cinematographer - February 1995 - 99

0

this

precinct

lets

me

XTIOO,

get

XTR 2 5 0, XTS 4 0 0 Color Negative

away

with

murder.

Films

Shooting NYPD Blue
is all about

taking

chances, the only rule
is there

rules.

are no

The films that

give

confidence to

me

break the rules

are

AGFA XTR 250 and
AGFA XTS 400.
These films

are

sharp

and snappy

and

record what I see, my

vision. Their low
trast and

let

range

con¬

great tonal
me

light by

without worrying

eye

about windows
blown out

being

lack of

or

detail in the shadows.

They also allow
to

light

trasty"

more

so our

me

''con¬

colorist

can

have full control

and

push the blacks

without

pictures get¬

ting muddy. With all
the choices available

for

cinematographers

today, I truly believe
that AGFA XTR 250
and AGFA XTS 400
are

among

the best

films for telecine
transfer.
me

They help

work faster,

record the
see

reality

as

I

it and, most im¬

portantly, look great
After all, it's the look
that

For

more

information about

Agfa film, call 800-568-1378.

really counts.

AGFA^



American Cinematographer - February 1995

Table of Contents for the Digital Edition of American Cinematographer - February 1995

American Cinematographer - February 1995 - 1
American Cinematographer - February 1995 - 2
American Cinematographer - February 1995 - 3
American Cinematographer - February 1995 - 4
American Cinematographer - February 1995 - 5
American Cinematographer - February 1995 - 6
American Cinematographer - February 1995 - 7
American Cinematographer - February 1995 - 8
American Cinematographer - February 1995 - 9
American Cinematographer - February 1995 - 10
American Cinematographer - February 1995 - 11
American Cinematographer - February 1995 - 12
American Cinematographer - February 1995 - 13
American Cinematographer - February 1995 - 14
American Cinematographer - February 1995 - 15
American Cinematographer - February 1995 - 16
American Cinematographer - February 1995 - 17
American Cinematographer - February 1995 - 18
American Cinematographer - February 1995 - 19
American Cinematographer - February 1995 - 20
American Cinematographer - February 1995 - 21
American Cinematographer - February 1995 - 22
American Cinematographer - February 1995 - 23
American Cinematographer - February 1995 - 24
American Cinematographer - February 1995 - 25
American Cinematographer - February 1995 - 26
American Cinematographer - February 1995 - 27
American Cinematographer - February 1995 - 28
American Cinematographer - February 1995 - 29
American Cinematographer - February 1995 - 30
American Cinematographer - February 1995 - 31
American Cinematographer - February 1995 - 32
American Cinematographer - February 1995 - 33
American Cinematographer - February 1995 - 34
American Cinematographer - February 1995 - 35
American Cinematographer - February 1995 - 36
American Cinematographer - February 1995 - 37
American Cinematographer - February 1995 - 38
American Cinematographer - February 1995 - 39
American Cinematographer - February 1995 - 40
American Cinematographer - February 1995 - 41
American Cinematographer - February 1995 - 42
American Cinematographer - February 1995 - 43
American Cinematographer - February 1995 - 44
American Cinematographer - February 1995 - 45
American Cinematographer - February 1995 - 46
American Cinematographer - February 1995 - 47
American Cinematographer - February 1995 - 48
American Cinematographer - February 1995 - 49
American Cinematographer - February 1995 - 50
American Cinematographer - February 1995 - 51
American Cinematographer - February 1995 - 52
American Cinematographer - February 1995 - 53
American Cinematographer - February 1995 - 54
American Cinematographer - February 1995 - 55
American Cinematographer - February 1995 - 56
American Cinematographer - February 1995 - 57
American Cinematographer - February 1995 - 58
American Cinematographer - February 1995 - 59
American Cinematographer - February 1995 - 60
American Cinematographer - February 1995 - 61
American Cinematographer - February 1995 - 62
American Cinematographer - February 1995 - 63
American Cinematographer - February 1995 - 64
American Cinematographer - February 1995 - 65
American Cinematographer - February 1995 - 66
American Cinematographer - February 1995 - 67
American Cinematographer - February 1995 - 68
American Cinematographer - February 1995 - 69
American Cinematographer - February 1995 - 70
American Cinematographer - February 1995 - 71
American Cinematographer - February 1995 - 72
American Cinematographer - February 1995 - 73
American Cinematographer - February 1995 - 74
American Cinematographer - February 1995 - 75
American Cinematographer - February 1995 - 76
American Cinematographer - February 1995 - 77
American Cinematographer - February 1995 - 78
American Cinematographer - February 1995 - 79
American Cinematographer - February 1995 - 80
American Cinematographer - February 1995 - 81
American Cinematographer - February 1995 - 82
American Cinematographer - February 1995 - 83
American Cinematographer - February 1995 - 84
American Cinematographer - February 1995 - 85
American Cinematographer - February 1995 - 86
American Cinematographer - February 1995 - 87
American Cinematographer - February 1995 - 88
American Cinematographer - February 1995 - 89
American Cinematographer - February 1995 - 90
American Cinematographer - February 1995 - 91
American Cinematographer - February 1995 - 92
American Cinematographer - February 1995 - 93
American Cinematographer - February 1995 - 94
American Cinematographer - February 1995 - 95
American Cinematographer - February 1995 - 96
American Cinematographer - February 1995 - 97
American Cinematographer - February 1995 - 98
American Cinematographer - February 1995 - 99
American Cinematographer - February 1995 - 100
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