My cinematography link.. Pans Labyrinth…

I wonder when Red Camera will get to this point? I might be already there..
clipped from

Specialized palette

Navarro had three Kodak
emulsions with specialized
imaging characteristics on his
palette. He used KODAK VISION2
200T 5217 and 500T 5218 films,
as well as KODAK VISION 250D
5246 film. He used 5217 for day-for-night scenes shot in the forest
and under-exposed the negative
three to four stops, using silver
boards and reflectors to direct
light. There were also day-for-night
shots at more expansive locations
that would have been impractical
to light.

They had a 13-and-a-half week
production schedule. It was one
of the driest, rain-free summers
in that part of Spain in decades.
Navarro notes that foliage that was
supposed to be a lush, verdant,
green forest was dry and brown.
He framed scenes in those exterior
environments carefully. Navarro
also knew there was a budget for
digital intermediate (DI) timing,
which would enable him to put
finishing touches on colors, light,
darkness and other elements of
shots during post-production.

  blog it

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: