My cinematography link.. Pans Labyrinth…

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

clipped from www.kodak.com 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.