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.

Inventor of the Ruby 7,

Director of Photography,


Posted by admin, filed under influence. Date: March 20, 2009, 12:10 pm | 6 Comments »

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