I've just given a paper on Alexander, and talked about the infrared
color cinematography, and the other uses of color design in the film.
The cinematographer for the film, Rodrigo Prieto, makes reference to
another film that uses this process in an interview in American
Cinematographer -- can't remember the name of the film. Personally, I
loved the scene in Alexander, the most fauvist and certainly the most
expressive scene in the film.
On Sun, Jul 24, 2011 at 8:41 PM, Christiaan Cruz <[log in to unmask]> wrote:
> Are there any major works that have used super color infrared film or DSLRs?
> I've been thinking about using the process, but need a proper context to
> avoid an exercise/gimmick; Alexander's blood goggles. It was interesting
> in a few shots where you had selective objects and forms with colors like
> you would with aperture and selective out of focus. However, "Alexander"
> missed the glow you can get from certain objects with super color infrared.
> Though "I am Cuba" was B/W infrared there are sequences where that glow
> happens. Super color infrared can offer a subtle glow over slightly off colors
> unlike the overwhelming IR night vision look used in celebrity home movies
> and horror.
>
> thanks,
> -c
>
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