American Cinematographer - April 2018 - 115

we were like, 'One more time, one more
time.' But when the music played, it
was so strong that you could feel the
energy. It was one of the most unforgettable experiences I've had. I was
with those dancers, inside the dance."
During postproduction, senior
colorists Greg Fisher and Paul Ensby
graded the footage at Company 3's
London facility, where they worked
with a Barco 4K projector. Fisher -
who finalized the grade following
Ensby's initial pass - had joined the
production near the start and created a
look-up table for Carvalho to reference
while shooting; Carvalho's on-set
monitor was calibrated to make sure
that what the cinematographer saw
during production matched what he
would see at Company 3. Carvalho sat
in throughout the final grade, which
was performed with Blackmagic
Design's DaVinci Resolve 12.5.
"We made use of a tweaked
print-emulation LUT in the grade to

help give the images a bit more of a
'film look,'" Fisher says. "There are
times when colorists might use a LUT
that is more pronounced and with a
very warm white point to really drive
home the period look, but this was
more subtle. It just meant that the
images had more of a film-like quality."
Fisher also did an HDR pass on
the footage for the movie's HDR
release. "There is a significant amount
of contrast in the shots even in standard
dynamic range, so it's not as if it's a
completely different look," Fisher says,
"but it was nice to be able to take
advantage of what HDR offers."
Reflecting on his work, Carvalho
sees a unifying principle. He offers, "I
believe the magic of cinematography is
to try to merge emotion, poetry, technique, lighting, framing, breath and
tension through the camera, working
together with the director, actors and
the whole crew."
●

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa Mini, XT Plus
CW Sonderoptic Leica Summilux-C,
Arri/Zeiss Master Prime,
Angenieux Optimo



http://velvetlight.tv

Table of Contents for the Digital Edition of American Cinematographer - April 2018

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
American Cinematographer - April 2018 - 2
American Cinematographer - April 2018 - Contents
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American Cinematographer - April 2018 - Cover3
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