American Cinematographer - April 2014 - 64
◗
Outcast Power
now. It's almost a heightened version
of right now. For all of these reasons,
we both originally hoped to shoot on
film, but production decided that
would be too expensive. So, we shot
digitally, but that was the [aesthetic]
we were striving for."
Working with three Arri Alexa
Plus 4:3 cameras and one Alexa M,
the filmmakers shot primarily in the
2:40:1 aspect ratio and recorded
ArriRaw to Gemini 4:4:4 recorders
from Convergent Design. Camera
signals were cabled to digital-imaging
technician Nate Kalushner's DIT cart,
and Kalushner used Live Grade software and HDLink Pro signal-monitoring hardware to apply an
ArriRaw-to-Rec 709 LUT created by
EFilm/Company 3's EC3 dailies
service as a baseline for on-set viewing,
which was facilitated by two Flanders
LM-2461W monitors. Data manager
Jonathan Mecenas then downloaded
everything from the Gemini recorders
and internal SxS media, backed up all
data, and sent it to the EC3 office set
up near the production's Chicago
headquarters. Maintaining close
contact with Küchler, dailies colorist
Marc Lulkin would apply CDL values
generated by Kalushner and fine-tune
scenes to Küchler's specifications, and
then turn them around using
Colorfront On Set Dailies each day.
Dailies were distributed to the filmmakers in different media. Küchler
reviewed them each night on a calibrated 50" plasma monitor via EFilm's
proprietary EVue System.
Burger and Küchler decided to
use an almost continuously moving
camera to attain what Burger calls "an
intimate and raw" look, because the
director wanted to tell most of the
story directly from Tris' point of view.
Küchler says Divergent became "a very
kinetic film" as a result, "with lots of
Steadicam and handheld using longer
lenses. Our operators were fantastic;
they would harness themselves into a
doorframe and hang out of the El
[elevated train] to film a stunt where a
character is hanging off the train -
Top: Tris surveys
her Dauntless
faction
instructor, Four
(Theo James).
Middle and
bottom: Tris
builds her
strength and
keeps her cool in
the Dauntless
training
warehouse.
64
April 2014
American Cinematographer
American Cinematographer - April 2014
Table of Contents for the Digital Edition of American Cinematographer - April 2014
Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
American Cinematographer - April 2014 - 8
American Cinematographer - April 2014 - 9
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American Cinematographer - April 2014 - 14
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American Cinematographer - April 2014 - 17
American Cinematographer - April 2014 - 18
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American Cinematographer - April 2014 - 20
American Cinematographer - April 2014 - 21
American Cinematographer - April 2014 - 22
American Cinematographer - April 2014 - 23
American Cinematographer - April 2014 - 24
American Cinematographer - April 2014 - 25
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American Cinematographer - April 2014 - 27
American Cinematographer - April 2014 - 28
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American Cinematographer - April 2014 - 33
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American Cinematographer - April 2014 - 38
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American Cinematographer - April 2014 - 62
American Cinematographer - April 2014 - 63
American Cinematographer - April 2014 - 64
American Cinematographer - April 2014 - 65
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