Charlie Libin can. I asked Charlie to describe the process we underwent

to develop the final look for Able Danger. As usual, he was better

informed of the descriptive visual language required –which he has earned

lighting and shooting film over the years. Charlie knows a thing or seven

about DP-ing. Indeed, as a gaffer he found he couldn’t get the light effect he

wanted so he invented a light, the illustrious Ruby 7. He also knows about

orthochromatic process. It’s my new favorite word. Charlie sez

Krik conjured an homage to classic noir in a post 9/11 digital age. In

preparation for photography, we approached the production and lighting

design in black and white and shades of grey. For photography all data

was recorded, yet solely the green channel was used for the set monitor.

The color correction was in two stages. First at Nice Shoes, with

colorist Chris Ryan, we created what I describe as a “digital

orthochromatic” master. The green/blue layer is very stark in B&W and

brings out Adam and Elina‘s eyes. We added a bit of glow as found with

old uncoated lenses. The gamma was bent to thin out midtones.

This ortho-layer was composited with a desaturated color correction done

by Paul in Final Cut & Color. By combining both, the blush of color

introduces additional detail into the highlights – brings humanity to

the skin tones. Surveillance we shot with military grade night vision lens

adapters, the dream sequences and the many onscreen TVs were shot on

chroma green and built up in After Effects and Discreet Inferno giving

each set and each TV it’s own color and character.

Charlie Libin

Inventor of the Ruby 7,

Director of Photography,

ABLE DANGER