American Cinematographer - April 2017 - 65
HDR workflow is the fact that "most
consumers are going to watch [the
series] in normal HD," Billeter points
out. "The show is delivered in one file,
and when you bring the highlights
down too much for HDR, it then looks
very flat in Rec 709. It's a challenge to
make everything look good for both
worlds. In time, I hope that advances
will provide us with a better solution.
Ultimately, we want the audience to
follow a story, and not to witness technological feats."
Rather than dole out an episode a
week, each Netflix series' season is
released in its entirety all at once.
Billeter, for one, expresses gratitude for
the opportunity to see the result of a
season's worth of work as a whole. "It's
actually such a relief to watch the final
product," he says. "While you're shooting, you're in this crazy mad-dash
marathon to get things done. You don't
have a chance to sit back and look at it
and let it stew. Even when I watch the
finished episode for color notes, I'm still
very close to the anxieties of production.
"When the season finally comes
out a couple of months later, I have a
fresh set of eyes and can actually enjoy
the work," he adds. "I can finally enjoy
seeing this walking, talking child -
versus being in the middle of production, busy changing diapers most of the
With 38 episodes of multiple
Marvel series under his belt, Billeter
shows no signs of slowing and will
return to shoot the second season of
Jessica Jones. "I've worked with predominantly the same crew for all the Marvel
shows I've done so far," he says. "It's
great to have a family on set that you
know and are really comfortable with.
We've developed a shorthand, and we
try to approach each day fresh and come
up with something that resonates."
Red Weapon Dragon 6K
Panavision Primo 70 Series,
Primo Prime, Primo Zoom
Additional reporting by Iain