From American Cinematographer, In the Company of Men and Women by Eric Rudolph (September 1998)
Schreiber's ability to dramatically light this key location was facilitated by the use of Kodak's Vision 500T 5279. Before committing to the stock, she tested the emulsion all the way through to the Super 35 IN/IP {Internegative/Interpositive} stages; she underrated the film at 400ASA to obtain a thick negative that would hold up to the optical step process required for Super 35 formattting, ensuring that she would retain deep blacks.
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.
Showing posts with label internegative. Show all posts
Showing posts with label internegative. Show all posts
11.5.09
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
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
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