American Cinematographer - March 2015 - 24
Top: Director
Matthew Vaughn
(second from left)
confers with Firth
and Egerton
while prepping a
scene in a train
tunnel. Bottom:
Eggsy finds
himself in need
of assistance.
matching what we were seeing in the DI
theater, and ultimately what we would use
as a starting point for the DI."
Callis-Smith emphasizes that "monitoring was central to our workflow," which
is why, during prep, the filmmakers took all
of the production's monitors - including
the onboard Sony OLEDs used with the
Alexas - to Goldcrest, where they were
calibrated to match the plasma screens in
the facility's DI theater. This permitted the
filmmakers to do "live monitoring, while
also viewing graded dailies and consistent
24
March 2015
color on all viewing platforms," Callis-Smith
adds.
"The first hurdle was getting calibration correct [at Goldcrest] after the LUTs
were built," the DIT continues. "Then we
opted to work on set in Rec 709 viewing
space, as we knew the majority of our dailies
viewings wouldn't be in the DI theater. We
applied our LUTs to the live image using
[Pomfort's] LiveGrade and [Blackmagic
Design's] HDLink, with the image fed into
my rig in a way that I could easily distribute
the raw feed, graded feed, and what we
American Cinematographer
called the 'mini DI' output across any of our
monitors on set using an SDI router. The
monitors always displayed the graded feeds,
whereas my waveform monitors always
displayed the raw log feeds. We also set up
a vectorscope for each graded feed to help
maintain color consistency between two or
three cameras shooting at the same time."
To generate dailies, Richmond
preferred this mini-DI approach - which
Callis-Smith performed with Blackmagic
Design's DaVinci Resolve 10 - because it
allowed files to be rapidly pushed through a
secondary color-grading process before they
ever left the set. The cinematographer could
then give almost instant feedback to the DIT,
and 1080p-quality dailies rolled out like
clockwork to colleagues, who could view
them at any time on iPads using the Copra4
dailies viewing app.
Callis-Smith explains, "we used the
mini DI to match every take using processes
more commonly seen in a DI suite, to make
sure there was 100-percent consistency
between shots, especially on exterior scenes
with constant changes in cloud coverage.
Grading this way allowed me to work with
the director of photography in a way I had
not been able to before, and it made the use
of color an integral part of the shooting
workflow. The great part about it was that
we could see exactly what we were getting
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
American Cinematographer - March 2015 - 13
American Cinematographer - March 2015 - 14
American Cinematographer - March 2015 - 15
American Cinematographer - March 2015 - 16
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
American Cinematographer - March 2015 - 23
American Cinematographer - March 2015 - 24
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
American Cinematographer - March 2015 - 32
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
American Cinematographer - March 2015 - 41
American Cinematographer - March 2015 - 42
American Cinematographer - March 2015 - 43
American Cinematographer - March 2015 - 44
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
American Cinematographer - March 2015 - 52
American Cinematographer - March 2015 - 53
American Cinematographer - March 2015 - 54
American Cinematographer - March 2015 - 55
American Cinematographer - March 2015 - 56
American Cinematographer - March 2015 - 57
American Cinematographer - March 2015 - 58
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American Cinematographer - March 2015 - 60
American Cinematographer - March 2015 - 61
American Cinematographer - March 2015 - 62
American Cinematographer - March 2015 - 63
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American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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