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"Last Samurai" - Kopierwerksausschuß im Kino

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@ "adlerauge" magentacine


gut erkannt!! Hier ein Ausschnitt aus einem Interview mit John Toll.


Quelle: Amercian Cinematographer


Toll: It was obvious to all of us that the picture needed to be widescreen, and although I'm a fan of anamorphic, I did a lot of testing in Super 35mm. I've never shot a feature in Super 35, primarily because I have reservations about the optical [step in postproduction], but I decided to really experiment with it for this project. As much as I love the look of anamorphic, it's always been a temptation to shoot the widescreen format with spherical lenses because of depth-of-field issues and the variety of lenses available. Also, we were planning a certain amount of visual-effects work, and Jeff Okun said that although he could work in either format, shooting in Super 35 would simplify his work. We took the anamorphic/Super 35 comparisons all the way through answer-print and release-print stages, and in the end, I essentially confirmed to myself that I do, in fact, like the look of anamorphic more than that of Super 35. [Laughs.] There have been many wonderfully photographed pictures shot in Super 35, but in the comparisons I did, there was a definite difference in resolution in the Super 35 release prints, especially in shots with a great amount of small detail filmed at wider focal lengths.


I knew I could eliminate the Super 35 optical by going through a digital intermediate [DI], but at that stage it was unclear how much time I would have for postproduction. The film's release date was set, but the start date was a question. Without a definite commitment to a specified post schedule and a guaranteed amount of time to finish the picture digitally, I was reluctant to commit to Super 35.


Although I assumed Warner Bros. would prefer I shoot Super 35 for budgetary reasons, everyone at the studio actually encouraged me to shoot anamorphic, especially [senior vice president of production technologies] Rob Hummel. When Rob heard I was testing [super 35], he called and made me aware of the comparison tests he had shot for the studio a few years earlier. In Rob's opinion, there is no comparison. [Laughs.] But the decision was left to me. I decided I should shoot the film as though I would finish in the traditional photochemical method, but if I had the opportunity to finish with a DI, I would. So I chose to shoot anamorphic. And as it turned out, I would not have had the time I felt I needed to finish the entire film as a DI, so I believe I made the right choice. Fortunately, however, I have the opportunity to finish two sequences in the DI process, and this work is in progress as we speak.

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