Digital BW, The Print

"The Man who Wasn't There" was shot by Roger Deakins. He shot "Shawshank 
Redemption", and "O Brother Where Art Thou" as well as many other fine films. 

"The Man Who Wasn't There" was photographed on color negative film, then 
scanned into a computer and the color was removed. The technology is now 
there for filmmakers and cinematographers to make all color corrections in 
the digital relm then output to film for presentation in theaters. "O Brother 
Where art Thou" was done in the same way. Shot very straight, with no 
diffusion on the lens in the middle of summer in the south, then scaned into 
a computer and the green grass changed to gold and yellows. 
Exciting times for everyone in the imaging business these days.
Lucas' nest Star Wars installment - shot entirely on 24P (digital video) with 
a film output. 

David Moenkhaus 


[Non-text portions of this message have been removed]

Nice one Cyril.....

----- Original Message -----
From: <DaMoenk@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Saturday, April 27, 2002 6:46 AM
Subject: Re: [Digital BW] Zounds - but is it the Zone?


> "The Man who Wasn't There" was shot by Roger Deakins. He shot "Shawshank
> Redemption", and "O Brother Where Art Thou" as well as many other fine
films.
>
> "The Man Who Wasn't There" was photographed on color negative film, then
> scanned into a computer and the color was removed. The technology is now
> there for filmmakers and cinematographers to make all color corrections in
> the digital relm then output to film for presentation in theaters. "O
Brother
> Where art Thou" was done in the same way. Shot very straight, with no
> diffusion on the lens in the middle of summer in the south, then scaned
into
> a computer and the green grass changed to gold and yellows.
> Exciting times for everyone in the imaging business these days.
> Lucas' nest Star Wars installment - shot entirely on 24P (digital video)
with
> a film output.
>
> David Moenkhaus
>
>
> [Non-text portions of this message have been removed]
>
>
>
> Please visit the Group Homepage to check the Files, Bookmarks, Polls and
other resources as they are often being updated. The page is at:
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
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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
>
>
> Please visit the Group Homepage to check the Files, Bookmarks, Polls and
other resources as they are often being updated. The page is at:
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> Please follow these basic guidelines:
> - Include your full name with your message.
> - Include the address of your website, if you have one.
> - As threads develop, trim off excess portions of earlier messages to keep
them short.
> - As the topic of a thread changes remember to change the subject header.
> - Good manners are required at all time. No personal attacks or "flames."
> - Complete your Yahoo profile.
> - Before posting a question, search the message archives and the various
resources on the homepage.

>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>

Maybe shooting in colour and converting to B&W gave them the opportunity to
play around with colour filters *after* shooting to achieve their desired
look?

-----Original Message-----

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.



[Non-text portions of this message have been removed]