The American Society of Cinematographers

Loyalty • Progress • Artistry
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“During the transfer, I noticed the older Kodak stocks held up really well, especially the 48. I was amazed we didn’t have that much digital restoration to do on some of the material.” She worked with an HDCam-SR transfer from a Spirit Datacine and will eventually film out from the HDCam-SR after doing a digital intermediate. (The movie was projected digitally in HDCam at Sundance.) “Because Deluxe Toronto can transfer from 16mm to HDCam-SR on the C-Reality, Company 3 generously allowed us to use its Spirit Datacine machines in New York. I like the look of this film in linear space rather than log film space; I love the creaminess and velvet quality of the Spirit, and I want to retain that feel. Also, because of the multiple formats, I knew staying in linear space would help the imagery be more consistent.” 

Though Kuras is the cinematographer, writer and director of Nerakhoon, she decided to share the directing credit with Thavi, who also edited the project. “This film is about history, philosophy, life and death as experienced by this family, and it was therefore crucial that it have a very personal voice,” she says. “The process of making it was really a long dialogue with Thavi and his family. I wanted to share with him the means to tell his story.” 


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