American Cinematographer - February 2015 - 41

advantages in using these cameras."
From Appleton, the camera files
were delivered to Technicolor. Toll
explains, "I also had the opportunity to
look at my dailies on location on a calibrated screen with Technicolor's dailies
colorist, Jodie Davidson. So I had a
pass on set where we could establish
the look, but when necessary I could
view dailies and tweak color in a more
controlled environment, where I had
more time and more options."
Davidson was with the production throughout principal photography, and she stayed on for the final
digital grade, during which she
assisted supervising digital film
colorist Traudl Nicholson, who
worked out of Technicolor's London
facility. There, Nicholson graded 2K
DPX files using Autodesk Lustre
(within Flame Premium 2013 2.5.3)
on a Linux box. "Traudl works for
Arri, but Lana and Andy had worked
with her for Cloud Atlas and requested

that she come to London," says Toll.
"Traudl is an incredibly talented
colorist, and I really enjoyed working
with her. We used the dailies color
corrections as our starting point, and we
quickly learned we had a similar visual
point of view."
Even once Toll and Nicholson
were well into the DI, the visual-effects
work - which totaled nearly 2,200
shots divided among eight vendors -
continued apace, with Glass and visualeffects producer Theresa Corrao bouncing between the production's post
operations in London and Chicago.
"One of the key things the directors
wanted was a sense of physicality and
credibility in terms of the way the action
and science-fiction elements were
portrayed," says Glass. "They wanted
the world to feel convincingly authentic. We benefited from starting with a
lot of visual ideas; some of those continued to evolve, but we had a good, strong
basis."

Indeed, this evolution was seen
across all departments. Despite the scale
of the production and the detailed planning that occurred before the cameras
rolled, everyone brought to bear the
experience necessary to take advantage
of spontaneous ideas and nurture a spirit
of collaborative improvisation. As Toll
observes, "There was a lot of creative
flexibility in the best sense of the term."
●

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus 4:3, XT;
Red Epic MX; Canon EOS 6D
Leica Summilux-C, Cooke S4,
Angenieux Optimo,
Fujinon Premier, Canon EF

41



http://www.aja.com/cion http://www.aja.com/cion

American Cinematographer - February 2015

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

Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
American Cinematographer - February 2015 - 59
American Cinematographer - February 2015 - 60
American Cinematographer - February 2015 - 61
American Cinematographer - February 2015 - 62
American Cinematographer - February 2015 - 63
American Cinematographer - February 2015 - 64
American Cinematographer - February 2015 - 65
American Cinematographer - February 2015 - 66
American Cinematographer - February 2015 - 67
American Cinematographer - February 2015 - 68
American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
American Cinematographer - February 2015 - 75
American Cinematographer - February 2015 - 76
American Cinematographer - February 2015 - 77
American Cinematographer - February 2015 - 78
American Cinematographer - February 2015 - 79
American Cinematographer - February 2015 - 80
American Cinematographer - February 2015 - 81
American Cinematographer - February 2015 - 82
American Cinematographer - February 2015 - 83
American Cinematographer - February 2015 - 84
American Cinematographer - February 2015 - 85
American Cinematographer - February 2015 - 86
American Cinematographer - February 2015 - 87
American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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