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Hey everyone,

 

I apologize if this topic has already been exhausted in previous threads. I'm looking for examples of pull processing for an upcoming project. A few came to mind but I want to continue building a reference library as I prep.

 

If you know of any films/examples please let me know!

 

B

Edited by Ben Joyner

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At least some scenes in War Horse were pull processed. This is a good start but it isn't very specific:

 

https://britishcinematographer.co.uk/janusz-kaminski-asc-war-horse/

 

Lala Land was entirely pull processed, according to this:

 

http://www.kodak.com/motion/blog/blog_post/?contentid=4295000679

 

I haven't seen either, but I'm looking forward to watching Lala Land eventually.

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I think all of "Bram Stoker's Dracula" (1992) was shot on 500 ASA film pull-processed one-stop. This movie was made just before 200T was released by Kodak.

 

The flashback involving the helicopter crash in "Courage Under Fire" (1996) was overexposed and pull-processed -- it might have been overexposed three-stops and pull-processed back two-stops.

 

It's going to be hard to judge pull-processing on anything transferred to video.

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If I recall correctly, the North Africa sections of Valkyrie (2008) were 5201 pull processed 2 stops. Newton Thomas Sigel felt it rendered a more subdued contrast than he would have otherwise got, and less saturation. He also shot those sequences through a Gold FX filter. Theres an episode of the American Cinematographer Podcast about it, which is where I'm getting this info from. I believe he may have talked about it when he curated the ASC's Instagram account recently.

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I partially remember an article on "Tous les Matins do Monde" (1991) where Yves Angelo said he pull-processed one of the stocks used on the movie, it may have been 250 ASA Fuji film used for the exteriors.

 

Pull-processing was more common before D.I.'s (to lower saturation and contrast) and before 200 ASA film was available (as opposed to overexposing and pulling 500T to reduce grain). The benefits of pull-processing still exist... but it gets harder to justify the extra processing costs and the delay on dailies when some of the look can be created in the D.I. with a well-exposed negative. I also think a one-stop overexposure and pull-process is a bit too subtle these days, you have to go for a two-stop overexposure and two-stop pull to get something more unique.

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For 'Irina Palm' we created a look which was Bleach Bypass combined with a one-stop Pull process to get desaturation (bleach bypass) without the contrast increase (one stop pull).

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I think over exposing and printing down would get a higher contrast look, Robin.

 

But Im sure it was over exposed and pulled down 2 stops to give a more washed out look.. ? wouldn't that work..

Edited by Robin R Probyn

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Pulling would lower contrast, just printing down a dense negative usually gets you better blacks so a little more contrast. Also, if you overexposed two stops and pulled two stops, you'd be printing normally, not printing down.

 

However, as Conrad Hall found out, if you overexpose a lot, more like three or more stops over, you get a somewhat flatter look because all your information is on shoulder of the characteristic curve. I once had some 2nd unit footage came back five stops overexposed and I was able to print it down to normal but the contrast was a bit lower. You also get somewhat greyish whites and sometimes a color bias you can't correct for in RGB printing.

 

The desert flashback in "Courage Under Fire" was overexposed 3-stops, pulled 2-stops, and left 1-stop "hot" more or less, and had a somewhat muted look.

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