Digital BW, The Print

But what was the advantage as the stock must have added to production costs
more than somewhat, or does the film industry lack the ability to process
B&W movie stock any more.

Or have the emulsion producers stopped making the material?

Anyway be that as it may, one wonders who 'lit' it because they surely knew
their stuff.I can't remember being so struck by such class imagery since I
first saw a Von Sternberg masterpiece.

----- Original Message -----
From: "Bruce Kinch" <pvx@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Tuesday, April 30, 2002 9:42 PM
Subject: Re: [Digital BW] Zounds - but is it the Zone?


> >I recently has ocassion to view a cinematic masterpiece named "The Man
Who
> >Was Not There", starring Billy Bob Thornton (how anyone with a name like
> >Billy-Bob, could get anywhere in life escapes me entirely).
> >
> >This B&W visual stimulator was of such an outstanding image quality that
I
> >am wondering how the effect was obtained.
> >For instance is it possible that the lighting cameraman used the Zone
system
> >in order to produce the recorded effects?
> >
> >There is at least one member of this group who actually works in the
movie
> >industry, perhaps he migh care to waffle a bit and elucidate on the
subject
> >generally.
>
> Sorry for delayed response, but as no one else seemed to pick it up....
>
> TMWWNT was shot on color neg stock, printed B&W. Like scanning RGB
> and converting to Grayscale.
>
> >
>
>
> --
> Bruce C. Kinch
> Associate Professor of Photography
> The Art Institute of Boston at Lesley University
>
>
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