Cinematography-Theory-And-Practice

Other Image Control TechniquesCross ProcessingCross processing was first developed by still photographers. In crossprocessing, the original camera film is a reversal stock (also called positivefilm or a transparency). This reversal stock is then put throughprocessing chemistry normally used for negative film. The result isnegative image on a clear based film. In other words, it does not havethe distinctive orange mask that all color negatives have.The effect of cross processing is increased contrast and more grain.The effect can range from subtle to radical. As a result, normal oreven slightly underexposed original camera film produces the best other projects that need a more extreme look, but it is also occasionallyused on features: for example, it was used in many scenes of thefilm Three Kings.Printing Negative as InterpositveAn alternative to cross processing is to print camera negative as aninterpositive onto standard print film. Film stock normally usedfor interpositives is lower in contrast than normal print stock. Thereason for this is that successive print stages in postproduction usuallyresult in a buildup of contrast; to counter this, intermediateprint stocks generally have a lower contrast. Both cross processingand interpositive printing result in stronger, more saturated colors,which makes them very different from bleach-bypass techniques.Digital IntermediateDigital intermediate is a way of having the best of both worlds. Theconcept is simple: you shoot on film, then do the image manipulationin the digital world with all the tools and techniques that areavailable there and then in the end the video files are transferred backto a negative to produce prints for projection in theaters.Normal telecine runs at real-time speed: if the film footage wasshot at 24 fps, then it is transferred to video at that same speed andyou can watch it at normal speed. For a digital intermediate, however,a higher-resolution image is needed. Standard practice is tohard drives, typically a high-speed RAID.The process provides unprecedented control over the image —far more so than traditional film color timing, which is limited tomaking shots lighter or darker and altering the color by controllingthe relative balance of red, green, and blue. tiontools that are standard in digital video become available for film.Individual sections of the image can be timed separately, contrast canbe adjusted, color can change gradually within a shot, power windowscan alter particular areas within the frame, and secondary color correction,where each color can be tweaked individually, is available.All of this happens in real-time, and with random access to all thefootage; it’s a nonlinear process; and with film it’s done reel by reel.This degree of control is available for the entire project, allowingthe creation of a look that would otherwise be impossible or requirerelatively unpredictable custom processing.Scanning film to high-resolution video is slow and expensive, so itis usually necessary for filmmakers to make choices about how muchdata is scanned from each frame: the scan resolution, influences theeconomics of the entire process. Theoretically, (depending on thecinematography252