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...we didn't fully commit to Super 35 until we did digital intermediate tests. We decided to use this post-production technique early on, mainly because you can skip an optical step in the lab when you are making 2.4:1 prints, and get sharper and more pristine images. You scan the cut negative in and record out onto an intermediate film that becomes your printing master."

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Schwartzman limited his palette to the Kodak Vision 200T 5274 film, and the new Kodak VISION2 500T 5218 film. He actually began shooting with the Kodak Vision 500T 5279 film, but switched two weeks into production when the new emulsion became available. "The 5274 film offers a good combination of speed and contrast," he says. "I knew I was going to be shooting in winter at lower light levels towards the end of the day. I didn't want us to change to a faster stock in the middle of shots. John Bickford (timer at Technicolor) showed me a 5218 test shot by John Toll, ASC. It was beautiful. It had the grain structure of a medium speed stock with no color shifting and great shadow details in the nether regions of darkness. I used it for night work, primarily, and for interiors where I couldn't bring the light level up to shoot 5274."

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