Pfister and Nolan decided early on not to do a digital intermediate (DI) on the show. “We’re both a bit leery of all the hype about DIs,” the cinematographer reveals. “I’d done a little DI work on The Italian Job [AC June ’03] and was not as happy as I hoped I’d be. I found the images picked up a little digital grain when they went through the process. Chris was also concerned about having too many hands on the material, and about how much time a DI might take. We both concluded that I could give Chris the look he wanted through the traditional photochemical process. I had a great experience with [Technicolor London] color timer Peter Hunt, and lab supervisor John Ensby, and Panavision U.K. rep Hugh Whittaker. The result is a print that is so rich in color and density that we’re thrilled we decided to go in this direction. Aside from pushing 5218, everything was developed and printed normally. The film will also be released in Imax, and the initial Imax tests were stunning.”