American Cinematographer - February 2018 - 31

Left: Kylo Ren
enters the throne
room of Supreme
Leader Snoke.
Below: The
camera is set for a
scene with Driver,
whose character
is pushed beyond
the simple desire
to emulate Darth
Vader.

in from a distance. We also occasionally
used a [Panavision/Zeiss Super Speed Z
Series] 180mm spherical lens converted
to a 360mm anamorphic, which was
cool because it's not much bigger than
the standard spherical 180mm."
The production's film work was
shot mostly on Kodak Vision3 500T
5219 negative, with 250D 5207 used for
some of the day-exterior scenes; the
digital cameras, meanwhile, primarily
recorded ArriRaw, with some ProRes
4444 XQ. "We're using a combination
of camera formats to meet the practical
demands of a big franchise movie,"
Yedlin explains. "But that wasn't a detriment to a coherent look because I don't
believe that a camera model makes the
'look.' As long as you properly expose a
high-quality professional format, the
look comes from the lighting and from
the mathematical transformations that
prepare the captured image data for
display. This film is a continuation of
the cinematic discussion Rian and I
have had over many projects together.
Our goal is what Rian calls 'theatrical
realism.'"
The production's 35mm negative
was processed by Cinelab London;
FotoKem handled 65mm film processing, all film scanning, digital-footage

management, dailies creation, final color
grading, and mastering. FotoKem
assembled a remote facility near-set in
London, outfitted with two Scanity film
scanners. Digitized film and file-based
camera footage were all brought into
what Yedlin describes as the digital
"neutral space" by way of FotoKem's
NextLab system. "We were looking at
dailies digitally in a very controlled
setup, where we could basically see
exactly what the final scan was going to
look like via the show LUT," Yedlin
notes.
www.ascmag.com

In establishing the dailies' color
decision list, the cinematographer
continues, "I asked the dailies colorist,
Jon Rocke, to only do offsets in log
space so that it basically works the same
as straight printer lights and doesn't
change the tone curve. I also asked the
lab to write some code for their dailies
software that would put the actual CDL
settings onto the screen. For example, if
a shot came back a little too bright but
the printer lights were also bright, then
I'd know that I hadn't exposed it too
bright, but that [the colorist] brightened
February 2018

31


http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - February 2018

Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
American Cinematographer - February 2018 - 10
American Cinematographer - February 2018 - 11
American Cinematographer - February 2018 - 12
American Cinematographer - February 2018 - 13
American Cinematographer - February 2018 - 14
American Cinematographer - February 2018 - 15
American Cinematographer - February 2018 - 16
American Cinematographer - February 2018 - 17
American Cinematographer - February 2018 - 18
American Cinematographer - February 2018 - 19
American Cinematographer - February 2018 - 20
American Cinematographer - February 2018 - 21
American Cinematographer - February 2018 - 22
American Cinematographer - February 2018 - 23
American Cinematographer - February 2018 - 24
American Cinematographer - February 2018 - 25
American Cinematographer - February 2018 - 26
American Cinematographer - February 2018 - 27
American Cinematographer - February 2018 - 28
American Cinematographer - February 2018 - 29
American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
American Cinematographer - February 2018 - 36
American Cinematographer - February 2018 - 37
American Cinematographer - February 2018 - 38
American Cinematographer - February 2018 - 39
American Cinematographer - February 2018 - 40
American Cinematographer - February 2018 - 41
American Cinematographer - February 2018 - 42
American Cinematographer - February 2018 - 43
American Cinematographer - February 2018 - 44
American Cinematographer - February 2018 - 45
American Cinematographer - February 2018 - 46
American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
American Cinematographer - February 2018 - 56
American Cinematographer - February 2018 - 57
American Cinematographer - February 2018 - 58
American Cinematographer - February 2018 - 59
American Cinematographer - February 2018 - 60
American Cinematographer - February 2018 - 61
American Cinematographer - February 2018 - 62
American Cinematographer - February 2018 - 63
American Cinematographer - February 2018 - 64
American Cinematographer - February 2018 - 65
American Cinematographer - February 2018 - 66
American Cinematographer - February 2018 - 67
American Cinematographer - February 2018 - 68
American Cinematographer - February 2018 - 69
American Cinematographer - February 2018 - 70
American Cinematographer - February 2018 - 71
American Cinematographer - February 2018 - 72
American Cinematographer - February 2018 - 73
American Cinematographer - February 2018 - 74
American Cinematographer - February 2018 - 75
American Cinematographer - February 2018 - 76
American Cinematographer - February 2018 - 77
American Cinematographer - February 2018 - 78
American Cinematographer - February 2018 - 79
American Cinematographer - February 2018 - 80
American Cinematographer - February 2018 - 81
American Cinematographer - February 2018 - 82
American Cinematographer - February 2018 - 83
American Cinematographer - February 2018 - 84
American Cinematographer - February 2018 - 85
American Cinematographer - February 2018 - 86
American Cinematographer - February 2018 - 87
American Cinematographer - February 2018 - 88
American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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