[...]
The future world that Kaminski helps to create through the cinematography is grainy and gritty - very different from the future worlds created in other sci-fi movies. The look of the movie, as seen in theaters,was further enhanced by utilizing Technicolor's ENR print process - a technique that increases contrast, decreases saturation and increases grain by retaining silver in the final prints.
Fast forward to 2009 - technology has advanced to a point where Minority Report can be re-mastered at 4K resolution using the original negative (because the ENR process was only applied to the prints). Over-scanning the film at 6K to create the 4K scans captures all the image information on the original negative. In order to deliver the highest quality end product everyone involved decided that the project should be entirely finished at 4K, meaning that the color grading and defect removal would also be done at 4K. According to LaserPacific's Senior Colorist Lou Levinson, "when Janusz Kaminski saw certain scenes in the movie, he was astonished to see details that he had never seen before. Working at 4K is as close as you can get today to seeing exactly what is on the original negative".
Using the Baselight color grading system from Filmlight, along with plug-ins from The Foundry, Lou Levinson was able to manipulate not only the color but also the grain levels from shot to shot if necessary. He explains, "Janusz Kaminski is a cinematographer who uses the texture and grain of film as an integral part of the image. He was excited to be able to have the control over each shot that you get with a digital process, particularly the ability to adjust the grain level." The grading process began with Lou matching an answer print. The answer print consisted of individual reels that Steven Spielberg had selected as best representing how he wanted the movie to be seen. At that point, Janusz Kaminski came in to work with Lou. The grading was done while viewing the 4K files rather than a lower resolution proxy. Steven Spielberg was also closely involved in the remastering and the resulting HDCAM-SR master represents how the creative team want the movie to be seen by viewers today. The HD master used for making the Blu-Ray release was created directly from the color-graded, dust-busted 4K files. Going directly from 4K to HD resolution eliminates any filtering or resizing artifacts that can result from intermediate steps.
Ron Burdett, General Manager Data Mastering, adds, "the really exciting thing about working in data at 4K resolution is that as well as creating an incredible-looking HD master, we could also record out a new digital negative that has the look of the movie built into it."
)
¿Harmonica?
