American Cinematographer - January 2015 - 36

Top: Burton lines
up a shot of
Adams and Waltz.
Bottom: Burton
with the real
Margaret Keane.

If I was looking for flares, I would
go with a Panavision anamorphic CSeries lens, or I'll choose to work with an
uncoated lens if I need an optical aberration, but [for Big Eyes] I wasn't and I
didn't, so the S4s were just fine with me.
Did shooting with the Alexa
impact your collaboration with Peter
Doyle in any way?
Delbonnel: Not really. He knows
more about shooting digital than I do, so
I asked him a lot of questions. I wanted
to know the most common mistakes. He
knows how I work with film, and I
wanted to keep working that way. I said
to him, 'Just tell me what you need for
the DI and I will follow your request.' He
told me it would be better to rate the
36

January 2015

camera at 500 ASA because that's the
way I work, and we can do whatever we
want in the final grade.
Did you do any color grading
on set?
Delbonnel: I looked at the Rec
709, [but] it's a mistake to use a look-up
table on set because it means you're
stuck with that look. I twist the image a
little bit with my lighting, but not too far;
I don't even use filters. I need to see a
clean neg in the DI, because I might have
to change direction in terms of contrast,
density or color palette. When you see
the final cut of a movie, it's usually different from what you thought it would be
when you were shooting. The movie has
a life of its own, and I want to be able to
American Cinematographer

'listen to the movie' and change the
grade accordingly.
Where did you do the final
color grade?
Delbonnel: Technicolor London
[using a FilmLight Baselight]. Tim let me
grade the movie on my own for a week
or so; then he came to do what he
wanted. We watched the movie together
and changed things according to his
taste, and then I went back to Paris and
he finalized the whole thing with Peter.
Based on this experience, do
you think you and Tim are going to
go digital for the next film?
Delbonnel: I don't know. If I had
to choose, I would shoot the next one on
film, because that's what I know and like.
I'm not saying that I don't like digital; it's
just that I haven't learned how to use it
yet. I don't know what to expect from
digital that would be more interesting
than film. If it's only about the ASA and
seeing everything at night, then that's
bulls---. That's not interesting. There's a
language coming from it that I have yet
to learn.

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa Studio
Cooke S4, Angenieux Optimo

‚óŹ



Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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