American Cinematographer - January 2017 - 88
◗
A Family's Passion
ASC associate Joshua Pines, helped
develop a vintage-film emulation LUT
specifically for Fences, in order to "give
the negative a great starting point,
which complemented the period of the
film," Hatzer says.
Christensen and Hatzer agree
that the biggest challenge during the
Fences DI was smoothing out the location lighting, especially the weather
changes. "Beyond that, a lot of time was
spent refining the overall light-to-dark
color contour that had been established
in-camera," says Hatzer, who used
multiple Autodesk Lustre and Digital
Vision Nucoda workstations for the
grade. Lustre, which features an "exceptional Log grading toolset well suited to
film-originated projects," he says, was
used for the primary grade, while
Nucoda was used throughout for its
image enhancement capabilities and
restoration toolset. The final theatrical
deliverable was a 2K DCP.
"Mike grades with an understanding of storytelling," Christensen
says. "He has that finesse, that understanding that color and every other
element is supporting the story and the
scene. That fine grading that's all about
getting the skin tone right, and making
sure the light and color inside are right.
There are so many crazy, amazing-looking movies where there is so much to do
in the grade, and here it was like, 'Let's
get this color blue right!' It's minimalistic in a way, but it means everything to
this movie."
●
TECHNICAL SPECS
2.39:1
Anamorphic 35mm
Panavision Millennium XL2
Panavision C Series,
Anamorphic Zoom
Working inside a narrow row house, Christensen relied on top lighting to give the actors greater
freedom of movement.
88
January 2017
American Cinematographer
Kodak Vision3 50D 5203,
250D 5207, 200T 5213,
500T 5219
Digital Intermediate
Table of Contents for the Digital Edition of American Cinematographer - January 2017
Contents
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American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
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American Cinematographer - January 2017 - 48a
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