None of Dive's work for the film is especially flashy — unlike the teen-romance themed Twilight or the gleefully carnal True Blood, Let Me In could be described as a low-key horror drama with coming-of-age overtones, and it required unobtrusive VFX that were absolutely photoreal to match the story. »
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Cameras were tearing through 35mm scope, 35mm VistaVision and 65mm (five-perf) stock, and super-high-speed footage was being captured with cameras from Vision Research (Phantom digital cameras) and Photo-Sonics (35mm flat film). As usual with Nolan’s projects, the film did not get digital dailies or go through a digital intermediate. Film & Video got on the phone with editor Lee Smith and additional editor John Lee to learn about a workflow that mixes the best of digital and analog technologies. »
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