When a film is initially released, the negative is “timed” so that projection prints are properly bal- anced. As the 35mm projection print is being struck, hundreds of exposure changes are pro- grammed to occur within the optical printer. Un- fortunately, the paper timing strips used by film labs are useless in digital color correction, so the work must be done from scratch; a daunting challenge.


transfer was made from the original 35mm nega- tive by the lab CMC in Paris, and the HD files were digitally transmitted to Crawford Media Services in Atlanta, where color correction and other work was performed.


Color correction is an essential part of master- ing (even if a film is in black-and-white) as it regu- lates the visual consistency of a picture. If one is working from an untimed negative, the exposures and color balance vary wildly, and these values are adjusted—painstakingly, usually shot by shot, sometimes with several adjustments being made within a single shot (especially complex tracking shots)—so that a visual continuity is achieved.


On the plus side, today’s digital mastering tech- nology allows us much more control over the color, contrast, etc., and can fine-tune a film way be- yond what the labs could 30 years ago. Unfortu- nately, this also widens the margin for error in the entire process and requires the colorist and pro- ducer to approach each film with care. A projec- tion print can be used as a visual guide, since it contains the original timing. But we prefer not to work from prints for two reasons: color prints yield far less detail than negatives (especially in the blacks), and most 30-year-old prints have suffered color shifting because projection prints were typically printed on unstable film stock. Beyond consistency, the colorist also imbues the film with a look suitable to the film. When a cinematographer is not available for direct con- sultation, the Director of Photography’s intentions can generally be divined by clues within the nega- tive—such as intentional lighting effects (which can be underscored and emphasized through color grading) and the predominance or absence of certain color values. A good film whisperer can read a negative and create a master that is largely true to the filmmakers’ intent. Having some filmmaking experience certainly comes in handy when making such judgement calls. Judging strictly from such close analysis of the film elements, one recognizes that Jean Rollin’s films—not just ZOMBIE LAKE, but all of them— were made under tight budgetary and schedule restraints. He did not have the luxury of complex lighting effects. I believe Rollin’s films—frequently lyrical and visually striking—would be much more respected today if people realized the impoverished conditions under which they were produced. Most of the time, Rollin and his cameramen were just trying to get the action captured on film before the sun went down. So, when we see him at least trying to achieve something, we use the digital tools at our disposal to help execute the effect. Lamps that are too harsh can be slightly diffused; C-stands that are peeking out from the background can be hidden in the shadows, and sunsets can be made more brilliant. In the case of ZOMBIE LAKE, we made the waters of the lake appear more dark


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