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Topic: What happened to the color?
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 05-10-2004 10:57 AM
"New York Minute" production notes:
http://www.cinemareview.com/production.asp?prodid=2502
quote:
The challenges of filming a story that takes place in one day can be even more complex than shooting a period piece. “It was a constant exercise in matching and continuity,” Gordon acknowledges. “Before we filmed every scene, we asked ourselves ‘What time is it in the story? If it’s 10:22 a.m., then where were Jane and Roxy at 10:20? Where will they be at 10:30?’”
Gordon and director of photography Greg Gardiner used Digital Intermediate technology to balance the varying light quality from nine weeks of filming. (New York Minute has the distinction of being Warner Bros. Pictures’ first full-length live action feature to utilize the Digital Intermediate film process.)
“The Studio really supported me in going this route, so I could color match 47 days of different light and sky and progress the light from 7 a.m. to 4:30 p.m. on a single day,” Gordon explains. “It was also a thrilling opportunity to make the movie more eye-popping, color-wise. We’re doing some cool split-screens and fast-motion edits that couldn’t be done without Digital Intermediate – a process that it usually reserved for huge special effects films.”
To further underscore the tension of the escalating situations in which Jane and Roxy find themselves, Gardiner used natural light to “keep the look rich and stylish, yet real.”
I suspect it may have been the "look" they wanted.
AFAIK, most of the prints were NOT printed on Kodak VISION Color Print Film either.
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 05-10-2004 08:39 PM
Technicolor dye transfer prints were unique, and are sadly missed. Over the years, Kodak was a major vendor of the film materials for that proprietary process.
Yet many beautiful (and long lasting) prints have been made on Kodak color print films over the last two decades. KODAK VISION Premier Color Print film can produce very rich blacks and saturated colors:
http://www.kodak.com/US/en/motion/products/print/2393.jhtml?id=0.1.4.8.4.5&lc=en
quote:
KODAK VISION Premier Color Print Film / 2393. A film with a different look. Richer blacks. More saturated colors. Cleaner performance. A film worthy of the KODAK VISION Film family name.
The upper tone scale of VISION Premier Color Print Film is significantly higher in density than EASTMAN EXR Color Print Film, so shadows are deeper, colors are more vivid, and the image snaps and sizzles on the screen. The toe areas of the sensitometric curves are matched more closely, producing more neutral highlights on projection. Cinematographers can be more creative with lighting and exposure, and still see remarkable results.
Like its counterpart KODAK VISION Color Print Film, VISION Premier Color Print Film is coated on a polyester base without rem-jet, for a cleaner process and cleaner screen images. We've incorporated a processing-surviving, antistatic layer to reduce dirt attraction, and a scratch-resistant backing layer to improve projection life. And there are no color shifts during fades and dissolves. So, from set to lab to screen, day to day, you'll have more consistent performance.
These are not incremental improvements. They are quantum leaps forward in film technology. And with VISION Premier Color Print Film, you'll have the highest quality motion picture color print film Kodak has ever made.
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Jeff Joseph
Expert Film Handler
Posts: 131
From: Palmdale, CA, USA
Registered: Jun 2000
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posted 05-13-2004 02:33 AM
No, the shedding problem was fixed. It was shut down because of...are you sitting down?....money.
And, truth to tell, Technicolor never really told anybody that it was available. Virtually nobody in Hollywood today knows what dye-transfer printing is... and those that do, didn't know you could do it again.
And: When they would release a few prints in dye-transfer (such as "Pearl Harbor" or "Toy Story II") they never told anybody where to see them... we all (who cared) would wind up calling projectionists and asking them to check their prints for the grey soundtrack and so on...
And: Nobody shot movies with dye-transfer in mind. They picked God awful looking films to print in Tech (like "Meet the Deedles", for one, I swear).
And: Nobody at Technicolor knew what they were selling. That is, we had a "Tribute to Technicolor" at the Egyptian a few years ago... we had all the big shots from Technicolor come down; had several hundred people in the audience... they showed examples of "new" dye transfer (and we ran several OLD examples for everybody). At the end of the show, the person whose job it was to SELL this to the public told me that A)they didn't think anybody would show up or that so many people cared about this "technical stuff" and B)She had never seen old dye-transfer prints projected...and boy did they look swell!
Honest.
Better it should rest in peace.
Oh, and last I heard, of the 2 lines that were built, one was destroyed, but one was packed up in crates and is in storage at...CFI (which Technicolor now owns, of course).
A sad, but not surprising, story, all in all.
Jeff
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to Leonard Doss who left Technicolor when Fox went to that crappy Deluxe color. Bad news Leonard.
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