American Cinematographer - March 2015 - 22

Top: Harry helps
Eggsy (Taron
Egerton), a
young street
punk, turn his
life around by
trying him out
for a position
with Kingsman.
Bottom: Cast
and crew
prepare to
shoot.

"I used the same approach as I
would on a film show to pull focus," Bain
continues. "I only used the monitors for
framing reference, or as an eyepiece to take
eye-focus marks. Obviously, the main difference [with digital] is that you hopefully get
an all-clear on focus as you are shooting,
and no nasty surprises the following morning [in the lab report]."
Digital-imaging technician Joshua
Callis-Smith notes that the Alexas recorded
22

March 2015

ArriRaw to internal XR modules, "shooting
predominantly 4:3 with a 2.0x de-squeeze
on our monitoring, with a custom frame
line adding a 50-percent mask left and right
of the image to mask off the additional
width of the sensor outside of our 2.40:1
extraction area." He adds that datamanagement technician Simon Chubbock
offloaded the XT magazines in a mobile,
near-set lab each shooting day.
Richmond established a plan for onAmerican Cinematographer

set monitoring and color grading that
would allow for a consistent look throughout principal photography and into postproduction. "Once we began shooting extensive tests with the lenses we had chosen, we
wanted to take those tests into the DI
chain," Richmond explains. "So with our DI
facility [London's Goldcrest Post Production]
and my colorist, Rob Pizzey, we created LUTs
for night and day interiors and exteriors,
making contrasty ones, soft ones, and
mixing colors to get warm skin tones until
we felt we had something that looked a bit
like an older-movie style. The great thing
about conceiving that look and creating
LUTs in prep is that, as a cinematographer, I
feel like I am protecting the initial idea so
that everybody will get used to seeing the
same image all the way to the DI, with no
surprises in the final grade."
Pizzey adds that his involvement
during testing "allowed me to set basic
looks for each [interior and exterior] with a
range of different exposures for George to
use. All in all, we set about 25 different
looks for George to apply as LUTs. We also
spent some time with [Callis-Smith] to test
those looks with his own equipment,
making sure his display monitors were



American Cinematographer - March 2015

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

Contents
American Cinematographer - March 2015 - Cover1
American Cinematographer - March 2015 - Cover2
American Cinematographer - March 2015 - 1
American Cinematographer - March 2015 - 2
American Cinematographer - March 2015 - Contents
American Cinematographer - March 2015 - 4
American Cinematographer - March 2015 - 5
American Cinematographer - March 2015 - 6
American Cinematographer - March 2015 - 7
American Cinematographer - March 2015 - 8
American Cinematographer - March 2015 - 9
American Cinematographer - March 2015 - 10
American Cinematographer - March 2015 - 11
American Cinematographer - March 2015 - 12
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American Cinematographer - March 2015 - 14
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American Cinematographer - March 2015 - 17
American Cinematographer - March 2015 - 18
American Cinematographer - March 2015 - 19
American Cinematographer - March 2015 - 20
American Cinematographer - March 2015 - 21
American Cinematographer - March 2015 - 22
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American Cinematographer - March 2015 - 25
American Cinematographer - March 2015 - 26
American Cinematographer - March 2015 - 27
American Cinematographer - March 2015 - 28
American Cinematographer - March 2015 - 29
American Cinematographer - March 2015 - 30
American Cinematographer - March 2015 - 31
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American Cinematographer - March 2015 - 33
American Cinematographer - March 2015 - 34
American Cinematographer - March 2015 - 35
American Cinematographer - March 2015 - 36
American Cinematographer - March 2015 - 37
American Cinematographer - March 2015 - 38
American Cinematographer - March 2015 - 39
American Cinematographer - March 2015 - 40
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American Cinematographer - March 2015 - 43
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American Cinematographer - March 2015 - 45
American Cinematographer - March 2015 - 46
American Cinematographer - March 2015 - 47
American Cinematographer - March 2015 - 48
American Cinematographer - March 2015 - 49
American Cinematographer - March 2015 - 50
American Cinematographer - March 2015 - 51
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American Cinematographer - March 2015 - 53
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