From American Cinematographer, The War Within by Stephen Pizzello (February 1999)
"We chose straight anamorphic over Super 35 because I don't really like the idea of having an optical step at the end of the answer-print process. I want to know that what we're seeing during dailies is definitely what we're going to get in our original neg prints. Terry and I had always planned that this would be a widescreen picture because we wanted to see the characters within their environments; after all, that's the major focus of the story. "
- John Toll, ASC
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
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go raibh maith agat!
-Ryan