Adrian Biddle: Moonlight Approach

From American Cinematographer, Paging 007 by Ron Magid (December 1999)

Cool blue moonlight proved to be an important source elsewhere in the film, though, and Biddle generally creates his version of this lighting effect though some basic timing work. He details,

"I don't particularly like the blue color of HMIs, so instead of using one of those, I'll use a tungsten source for the moonlight, and then warm up my interior lights with some sort of CTO for [temperature] contrast. I then have the lab to print the scene for normal skin tones, which makes my tungsten moonlight key go slightly cold."

- Adrian Biddle, BSC

Juan Ruiz-Anchia: Kodak Original to Fuji Print

From American Cinematographer, More Trouble In Little China by Eric Rudolph (March 1999)

In an effort to keep costs down, New Line Cinema primarily makes its release prints on Fuji stocks. Anchia was therefore compelled to experiment a bit in the lab in order to successfully blend his Eastman Kodak camera original with the Fuji print stock for the general release prints. The cameraman says that he and Beverly Wood of DeLuxe Laboratories in Hollywood eventually devised a complex yet cost effective printing strategy that effectively emulates the crisp look of the Vision-printed show reels.

Anchia notes, "We made our interpositive on regular Kodak stock, which we slightly underexposed, and our internegative on slightly overdeveloped Fuji stock. We then printed to Fuji release stock, which was exposed and processed normally. These manipulations, coupled with the inherently higher contrast of the Fuji release stock, gave me the rich, contrasty look I was after for the general release prints."

- Juan Ruiz-Anchia ASC, AEC