Muistan puhisseeni Inland Empiren pressinäytöksestä poistuessani, että valkokankaalla ei tainnut olla ihan tavallista DV-kuvaa. Nyt American Cinematographer paljastaa, mitä kaikkea PD-150-videokameran kuvalle tehtiin, ennen kuin elokuva saatiin teattereihin.

These tapes were up-converted to 16×9 24p HD through a Snell & Wilcox Alchemist Platinum and laid off to D-5. ”With 60i footage, you’ve got 60 real fields,” notes Broderson. ”Every field is adjacent to the next and they all have motion. So if you just remove the extra frames, you get an obvious stutter, and if you just blend them all together, you get a very soft look. The Alchemist uses a sophisticated motion algorithm to make everything look smooth in 24p.”

An online HD conform was completed from the D-5 tapes on an Avid DS Nitris, using Lynch’s DV tapes as a guide track, along with EDLs from his edit. ”Everything was captured nonlinear with the Nitris,” says Broderson. ”Within that environment, we did a lot of fixes, like motion stabilizing and paintboxing, along with the editing. The ability to do that is a big advantage over a linear online system.” — —

The color correction was completed tape-to-tape in a da Vinci 2K suite by FotoKem colorist George Koran. — —

Koran used a Teranex box to enhance the image quality from the HD up-conversion. ”In my suite, I can program the Teranex from shot to shot, adjusting the sensitivity of the noise reduction and changing the aperture to increase the sharpness. We’re also able to smooth out the inherent grain of DV, but you have to be careful to avoid artifacts. You can easily go too far with sharpening, and then it starts to look artificial.”

Tämä on minusta sinänsä tärkeää (okei, kiinnostavaa), koska Lynchin välinevalintaa pidettiin esteettisenä voittona halpiskamoille. Juttu kuitenkin osoittaa, että videokuvan ja videokuvan välillä on eroja. Lynch ehkä kuvasi halvalla, mutta jälkikäsittelyyn taisi palaa pitkä penni.