Originally Posted by mhafner
Has anybody checked out "The Aviator"? Is it DNR city or not? The 35mm prints were.
I don't think this is your typical example of a smeared DNR look, like with some other possible examples you have listed on page 1 suggesting over zealous post processing (i.e. classic temporal based median filtering?).
This film was indeed an anomaly and had some of the best people in the business working on it from start to end. The people involved essentially developed a way to produce the Technicolor dye-transfer process (at the bequest of Marty S.) using digital tools!
Usually in the typical DI production, the steps are color correction, rendering and film out - simple.
For this anomalous case (in the pursuit of mimicking the colors of the traditional old Technicolor dye-transfer process), the ON was color corrected and that was rendered out as a color corrected file. That file was subsequently again
*color corrected* by the application of an additional LUT.
So, much of the film essentially had two
color correction passes in order to get the look that Marty S. wanted. If any process involving DNR was employed somewhere in the production chain (and I'm not saying it was, Omerta
), it had to be done in order to effectively produce the ground breaking digital method for recreating the look of the old Technicolor dye-transfer process.
This just may be the most complicated and difficult DI production done to date (from a colorist's POV).
B.T.W., Robert Richardson (who worked closely
with the colorist on the project) won the Oscar for Cinematography with his work on this film, if memory serves.