[ continued from: Rebirth of Dye Transfer ]
SOME TIME-TESTED ALTERNATIVES All of the special processes detailed here also come with additional charges to the filmmakers, so it should be noted that there still are some inexpensive alternatives, several of which can be performed in-camera.
A less extreme way to manipulate contrast may be achieved not only through lighting and exposure, but also by means of pushing and pulling the film (usually up to two stops with no deleterious effects on grain), which can subtly change the film's contrast response and color saturation. Pulling the film — overexposing (by underrating the film's ASA) and then underdeveloping the negative — will slightly decrease the contrast and color saturation. Pushing the film — underexposing (rating the film faster) and then increasing the developing time — produces the opposite effect, yielding a slightly more contrasty image with a subtle increase in color saturation.
The process of flashing the camera negative — through the use of devices like the Panaflasher or Varicon (see AC July '90), or by flashing in the lab — can be used to both decrease contrast and desaturate colors. However, it should also be noted that both pulling and flashing are often used in tandem with the utilization of a silver-retention process to further control the behavior of the effect; usually to soften the contrast of the mid-scale fleshtones.
And finally, there is also the long-used color desaturation technique which involves striking both color and black-and-white interpositives of the color footage. These are then A/B-printed onto the same print in varying degrees to mute the colors.
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