Armed with this information about digital structure, I plunged into the film and started experimenting, but I never went as far as George was suggesting, until I was working on a scene where the camera was positioned above Tim Roth, the main actor of Youth Without Youth, and he was lying on a bed and looking at the camera, and the camera moved down and made him into a big close up. However, there were three takes, and the two takes that... Where the camera did move, when it ended at the end, they were out of focus. It was just something technically wrong at that point. But there was another take, where the camera did not move at all, where it just stayed in this position.
So here's a good chance to try this blow up. So I did the appropriate things to the software, so that it appeared as if the camera were moving down by enlarging the image until I had a final big close up of Tim Roth. And when I looked at the numbers, it turned out to be, again, 230%, meaning, if the original image was 100%, we have gone 130% over that, so more than two times larger than it originally was shot. And now, I could actually test this by looking at my... The shot that I had blown up, and then going back and looking at the grain structure of the shots, which were out of focus, but at least I could... And sure enough, I couldn't tell the difference. And so I thought, 'Well, that's very interesting, because it gives the editor the ability to recompose the material.'
