Marc Kroll

I think it's just a video finish, but not certain. When I did the other series, it was so sweet to know that at the moment of exposure, the look was locked in, instead of doing it in post.There's nothing "wrong" with doing it that way, but there's a point where it feels like the colorist has usurped the role of the DP.

I am in pre-production for a dramatic short, to be shot on 16mm. I had previously done a project for this director, shooting the now discontinued Kodak reversal stocks, 7239, 7250, and 7251. We loved the look right out of the soup, did minmal corrections. (It was the PBS series, "Slavery and the Making of America", narrated by Morgan Freeman.) I am wondering whether I should go with the remaining 100D reversal stock, and light the heck out of it, or manipulate a negative stock to achieve the look of reversal. There isn't much budget for extensive testing, so I'm open to advice, that will keep things simple and efficient. Regards, Marc Kroll