American Cinematographer - March 2018 - 43
accomplished in post, but Morrison had
reference passes photographed incamera using a custom LED vest
designed by Abeyta and his crew so
Baumann and his digital artists could
see how the light affected the surrounding environment. "The goal is that
when the actor is replaced with the
visual-effects Panther suit, it's under the
same lighting conditions as the real
suit," Morrison remarks.
Dailies for Black Panther were
handled by Élodie Ichter and Fergus
Hally at Shed Atlanta using a custom
ACES workflow LUT, and the final
color grade was performed by
Technicolor senior colorist Maxine
Gervais working in 4K resolution on a
FilmLight Baselight system in Los
Angeles. Much of the grade involved
blending the live-action and visualeffects elements together, and enhancing the work done on set, smoothing
out the color and contrast between each
shot using vignettes and power
windows.
This was Gervais' first collaboration with Morrison, and the colorist
reports, "It was easy to get a feel for
what Rachel was after. Overall, she's
sensitive to contrast and shadows, and
she has a great eye for it.
"This movie has a grand spectrum of looks, including some nice dark
scenes," Gervais adds. "We made sure
this was all achieved while controlling
skin tones, highlights and things like
that. It's always about using what's there
and enhancing it. I think the overall
consensus [regarding the desired look]
was 'rich,' and that's how the movie
feels: very rich and beautiful."
Morrison regards the time she
spent working on Black Panther as both
exciting and instructive. "I was starting
to feel like I was putting out a lot of the
same fires on lower-budget projects,
and this movie gave me an incredible
opportunity to learn something new
and to challenge myself again," she
offers. "The biggest gift was the chance
to collaborate with Ryan and his team
again, and of course I feel exceptionally
fortunate to have gotten to play in the
Marvel sandbox. While I don't necessarily want to move in, I would love to
visit it again someday."
●
TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, Mini;
Red Weapon Dragon;
Canon EOS C300 Mark II
Panavision Primo, Primo V
43
http://dji.com/zenmuse-x7
Table of Contents for the Digital Edition of American Cinematographer - March 2018
Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
American Cinematographer - March 2018 - 6
American Cinematographer - March 2018 - 7
American Cinematographer - March 2018 - 8
American Cinematographer - March 2018 - 9
American Cinematographer - March 2018 - 10
American Cinematographer - March 2018 - 11
American Cinematographer - March 2018 - 12
American Cinematographer - March 2018 - 13
American Cinematographer - March 2018 - 14
American Cinematographer - March 2018 - 15
American Cinematographer - March 2018 - 16
American Cinematographer - March 2018 - 17
American Cinematographer - March 2018 - 18
American Cinematographer - March 2018 - 19
American Cinematographer - March 2018 - 20
American Cinematographer - March 2018 - 21
American Cinematographer - March 2018 - 22
American Cinematographer - March 2018 - 23
American Cinematographer - March 2018 - 24
American Cinematographer - March 2018 - 25
American Cinematographer - March 2018 - 26
American Cinematographer - March 2018 - 27
American Cinematographer - March 2018 - 28
American Cinematographer - March 2018 - 29
American Cinematographer - March 2018 - 30
American Cinematographer - March 2018 - 31
American Cinematographer - March 2018 - 32
American Cinematographer - March 2018 - 33
American Cinematographer - March 2018 - 34
American Cinematographer - March 2018 - 35
American Cinematographer - March 2018 - 36
American Cinematographer - March 2018 - 37
American Cinematographer - March 2018 - 38
American Cinematographer - March 2018 - 39
American Cinematographer - March 2018 - 40
American Cinematographer - March 2018 - 41
American Cinematographer - March 2018 - 42
American Cinematographer - March 2018 - 43
American Cinematographer - March 2018 - 44
American Cinematographer - March 2018 - 45
American Cinematographer - March 2018 - 46
American Cinematographer - March 2018 - 47
American Cinematographer - March 2018 - 48
American Cinematographer - March 2018 - 49
American Cinematographer - March 2018 - 50
American Cinematographer - March 2018 - 51
American Cinematographer - March 2018 - 52
American Cinematographer - March 2018 - 53
American Cinematographer - March 2018 - 54
American Cinematographer - March 2018 - 55
American Cinematographer - March 2018 - 56
American Cinematographer - March 2018 - 57
American Cinematographer - March 2018 - 58
American Cinematographer - March 2018 - 59
American Cinematographer - March 2018 - 60
American Cinematographer - March 2018 - 61
American Cinematographer - March 2018 - 62
American Cinematographer - March 2018 - 63
American Cinematographer - March 2018 - 64
American Cinematographer - March 2018 - 65
American Cinematographer - March 2018 - 66
American Cinematographer - March 2018 - 67
American Cinematographer - March 2018 - 68
American Cinematographer - March 2018 - 69
American Cinematographer - March 2018 - 70
American Cinematographer - March 2018 - 71
American Cinematographer - March 2018 - 72
American Cinematographer - March 2018 - 73
American Cinematographer - March 2018 - 74
American Cinematographer - March 2018 - 75
American Cinematographer - March 2018 - 76
American Cinematographer - March 2018 - 77
American Cinematographer - March 2018 - 78
American Cinematographer - March 2018 - 79
American Cinematographer - March 2018 - 80
American Cinematographer - March 2018 - Cover3
American Cinematographer - March 2018 - Cover4
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