The American Society of Cinematographers

Loyalty • Progress • Artistry
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When Fong spoke to AC, he was working on Watchmen’s digital intermediate at Company 3, where he was collaborating with colorist Stefan Sonnenfeld. Of the Karnak scenes, Fong says, “Zack and I wanted it to feel dusky, like the sun is going down, but still in icy Antarctica. It should be cool and moody. When shooting, we found the best color of light, and tweaked it to achieve just the right feel while in the DI suite. 

“We’re doing the DI painstakingly, but there are already so many visual elements in the movie that we haven’t been using one overall extreme look,” he adds. “Each scene warranted its own requirements, which I discussed with Zack way back in prep. Seeing it come together in the DI so many months later is very exciting, to say the least.”


2.40:1 Super 35mm

Panaflex Millenium XL, Platinum; PanArri 435

Primo Lenses

Kodak Vision2 100T 5212, 500T 5218

Digital Intermediate

Printed on Kodak Vision Premier 2393

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