How var den hög kontrastfilm gjort i Kill Bill?

Från sidan 2 av " En Bride Vows Revenge ":

[Robert] Richardson[, ASC] did design a specifically "textural" look for a sequence in which a wizened monk (Gordon Liu) helps The Bride (Uma Thurman) sharpen her fighting skills. "Quentin wanted to replicate the visual generation loss in these old kung fu films - the scratches, the higher-than-normal contrast," he explains. Instead of attempting to create the effect digitally, Richardson employed a photochemical process. He began by capturing the action on contrasty Kodachrome color-reversal stock. He processed that normally, struck an internegative from the print and then struck an interpositive from that, and so on. "We just kept making dupes and prints back and forth until Quentin was happy with the look," he says.

OBS, Richardson var också D.P. för Oliver Stone The Doors och JFK som också använde liknande tekniker.

Artikeln fortsätter:

The production filmed in the Super 35mm format using Richardson's preferred Panavision Platinum cameras, fitted with Primo lenses and configured for 3-perf shooting. Nevertheless, both Richardson and Tarantino had lingering reservations about maintaining visual fidelity in the oft-maligned format, citing traumatic experiences on Casino and Reservoir Dogs, respectively.

TECHNICAL SPECS
Super 35mm (3-perf) 2.35:1
Panavision Platinums Primo lenses
Kodak EXR 100D 5248, EXR 200T 5293, Vision 320T 5277, Vision 500T 5279, Vision 800T 5289 and Double-X 5222
Digital Intermediate by Technique

Double-X 5222 filmmaterialet är svart och vitt , så att med Primo-linserna och Richardsons öga / artistry / engineering skulle man kunna redogöra för "Ansel Adams" -bilderna i svartvitt. Ansel Adams utnyttjade " zonsystemet " och trycktekniker av "bränna och dodging" i motsats till användningen av neutrala densitetsfilter under fotografering.

As leery as the director was about Super 35, he was even more wary of anything labeled "digital." "Quentin doesn't like that word," Richardson says. "I'm still intimidated by [digital timing] in some ways myself. It's like putting me in the cockpit of a 747: what the hell am I going to do besides put it on autopilot? But as you learn, you do become less intimidated, and you can do things that are simply not possible photochemically. In this particular case, I saw the DI as the best way of maintaining control over the imagery, which is why Quentin finally decided to go with it."

Med tanke på Tarantinos motvilje mot digital bearbetning skulle jag kunna föreställa mig att Richardson använde sig av utvalda neutrala densitetsfiltrer under fotografering (såväl som sin egen kunskap om zonsystemet) och "pushing" när man skriver filmpositioner och vad som helst han lärde sig om utnyttja digitala mellanprodukter för utskriftstiming.