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All flashback material was shot clean and then given a distinct look during the DI process, which was carried out at EFilm in Hollywood. Working with Howard and colorist Steve Bowen, Totino gave those sequences “a bit of a forced-saturated, grainy look. It’s almost semi-bleached,” says the cinematographer. EFilm also recorded the color-corrected files to 35mm — “20 negatives,” he adds. Thinking back on the three-month shoot, Totino has no difficulty pinpointing its high point: being in the Louvre, surrounded by da Vincis, Carravaggios and Titians. “Do you know what it’s like to be in the Louvre by yourself at night? To stand in front of any painting you want, as long as you want, without a thousand tourists in front of you taking pictures — without anybody there? I could go right up to the Mona Lisa and just look at her! I think the entire crew felt it was a sort of religious experience.”
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TECHNICAL SPECIFICATIONS
Super 35mm 2.35:1 Arricam Studio, Lite; Arri 235
Cooke S4 lenses Kodak Vision2 Expression 500T 5229;
Vision2 200T 5217, 100T 5212;
Vision 250D 5246 Digital Intermediate Printed on Kodak Vision 2383 |
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