American Cinematographer - January 2015 - 53

Deakins. "It has two dry docks and a
huge cliff face. On top of the cliffs are
period warehouses. The site was perfect
for our purposes."
According to Hutman, "Angie
had this strong idea of black-and-white
for Naoetsu. It's winter when the men
get there, and there are these huge drifts
of snow. The prisoners were covered in
coal dust; they looked like black ants
marching back and forth against the
snow."
Deakins observes that the movie's
looks and color palette were primarily
established by the sets. "Kwajalein is a
jungle, so it's green and lush, pouring
with rain. Omori was a wooden world
with a dusty parade ground, so we went
with fairly warm, brown tones. Naoetsu
was black-and-white. Angie didn't want
the ocean to look too picturesque for the
raft scenes, so instead of a spectacular
blue, I timed it to have more of a green
tone."
Deakins worked with digital-

imaging technician Joshua Gollish, who
used the same base look-up table on
Unbroken that had been developed by
EFilm for Skyfall. "Josh didn't really
need to do much on-set timing because
I was getting what I wanted in-camera,"
says Deakins. "Occasionally, we would
adjust the color and the contrast for a
scene, and this metadata would travel
with the dailies from set to our dailies
timer at EFilm in Sydney."
Deakins worked with supervising
digital colorist Mitch Paulson at EFilm
in Los Angeles for the final digital
grade. "We actually had quite a lot to do
in the final DI because of the number of
visual-effects shots and the continuity
of the sky and water within some
scenes," Deakins notes. "We shot a lot
of exterior scenes where the light would
vary considerably - the raft sequences,
especially - so we had quite a bit of
balancing to do in the DI."
Unbroken was shot during the
Australian summer, with all its heat,

dust and humidity. "It really was a tricky
film," Deakins acknowledges, "because
of the number of locations, the very
specific look that we were after for each
scene, and the limited number of shooting days available to us. Our Australian
crew was top-class: Shaun, Toby, A.J.
[Andrew Johnson], Brian Cox. They
were all terrific - as were my regulars,
Andy, Bruce and Josh." Deakins also
singles out 1st AD Joseph P. Reidy and
line producer Clayton Townsend "for
the fantastic job they did organizing
everything."
‚óŹ

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa XT Plus,
XT Studio, XT M
Arri/Zeiss Master Primes

53



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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