Minority Report – high contrast

The high contrast look of Minority Report can be misleading. In this shot the blacks are actually lifted and highlights are a good bit below max. This allows for a nice smooth roll off into black and a feeling of deep deep shadows without having a crushed or crunchy clipping feel. The highlights also have a bloom that softens the hard contrast and adds a dream like layer to the experience, as if a subtler version of the pre-cognition seen by the oracles of the film. This relationship heightens the experience in its assertion that the plot is itself a premonition of our own real world future.

Minority Report (2002) - Color Timer  Dale E. Grahn digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith   Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572) Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)

Minority Report (2002) – Color Timer Dale E. Grahn
VFX: digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith
Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572)
parts of the film were processed with bleach bipass
Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)

 

 

 

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