![]() ![]() The studio backers came to visit and ask Stanley, " What's going on? You've spending a great deal of money for two years on this!" Stanley had put together this reel of some of the scenes that equaled about fifteen minutes. I had only seen a few of the scenes when I was working on 2001. It's such a big film, and when I was working on I had no idea that it would've turned out like it did. It's one of those films that shouldn't be allowed to be seen on home video. It was the sort of thing to do then, wasn't it? I did go to see the film when it was released and I was completely blown away at the sheer scope of it. LOFTUS: (Laughing) I didn't, but I knew quite a few people that did at that time. Can we get other combinations?" So, I came up with the idea of random combinations. Stanley finally said, " Well, I think I've seen everything that we can do. So we just had to keep going and going through all of the combinations. You couldn't predict the color combination and how it would come out. So by effectively combining those the wrong way you would end up getting lots and lots of different colors on the film. ![]() Effectively you would be creating twelve different stripes of film for every shot in the Stargate off of the positive and negative film. You had three color strips, and you took those and made three high contrast versions off of the negative, and then three low contrast versions. The combination of colors that were used on the landscapes for the Stargate, ultimately, we went through all of the combinations that we could think of. We called it "Purple Hearts", because there was an amphetamine drug at the time going around that had the same name. LOFTUS: Yes, but with the Stargate, the YCM process was done incorrectly, therefore, when we would combine the colors back together from the separation process the colors would be put back together out of order. He wanted to use the separation process because when you worked that way you could instantly be able to see in the shot if anything had gone wrong in the re-photographing when you put the YCM (Yellow, Cyan, Magenta) colors of the film back together again off of the negative. This detailed, taking a shot of the spaceship in 2001, and then adding a matte of the stars in behind it and then re-photographing it and adding other elements in as well and then re-photographing the entire thing all together. Because of all of the special effects shots in 2001, Stanley had decided that he wanted to do the entire film via the separation process. It was a good way of reproducing imagery because effectively you were working with black and white film as a result, and it would produce a very fine grain image. I had acquired experience working that way but with separation masters, which was when color film was broken down into three different layers of colors. Stuff like a painting of a landscape that you would put in around a castle and then re-photograph. LOFTUS: Well, the basic reason was that.The first real work that I ever did in the film industry was on matte paintings. ![]()
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