Na página 2 de " Uma noiva quer se vingar ":
[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.
De nota, Richardson também foi o D.P. para The Doors de Oliver Stone e JFK que também usaram técnicas similares.
O artigo continua:
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
O filme Double-X 5222 é preto e branco , de modo que com as lentes Primo e Richardsons olho / arte / engenharia seria responsável pela "Ansel Adams" -pasmo em preto e branco. Ansel Adams fez uso do " sistema de zonas " e técnicas de impressão de "queimando e esquivando" ao contrário do uso de filtros de densidade neutra enquanto fotografa.
Considerando a antipatia de Tarantino pelo processamento digital, imagino que Richardson utilizou filtros graduados de densidade neutra enquanto fotografava (assim como seu próprio conhecimento do sistema de zonas) e "empurrando" ao imprimir filmes positivos, bem como o que ele aprendeu utilizando intermediários digitais para o tempo de impressão.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."