American Cinematographer - May 2016 - 45

turntable, it gave the effect that he was
walking through the jungle. We created
both daylight and moonlight scenarios.
It was very important that the dappled
effect match closely with the [virtual]
world to sell the illusion."
The digital-intermediate process
- which was performed at Technicolor
Hollywood with ASC associate Steven
J. Scott, Technicolor's vice president of
theatrical imaging and supervising
finishing artist - was also key to seamlessly weaving together each of the
production's many facets. For this work,
Scott and his colleagues Mike Sowa and
Charles Bunnag used Autodesk's Lustre
2016 Extension 2 color-grading system.
Favreau says the colors where
Baloo resides, for instance, were
"inspired by the color palette of the
[animated] film, in terms of the tone
and humor." Therefore, he adds, this
portion of the jungle represents "a more
golden world, where it is always blooming and the sky is always blue." Other

parts of the movie - particularly when
Mowgli is in danger - are visually
much darker.
Given the movie's unique, hybrid
nature, Pope notes, "we were polishing
to a much finer level than on an ordinary DI. It was more elaborate, involved
and collaborative."
"It was an unusually collaborative
process," Scott agrees. "Jon and Bill
would [sometimes] end up wanting to
go in a bit of a different direction than
what was originally delivered. They
might want to add a feeling of heat or
warmth as Mowgli is running through
the jungle, for example. So, in some
cases, we took brilliant CGI material
and finessed it, with Bill Pope setting
looks and Rob Legato also involved in a
unique way, guiding the material that
was coming to us from MPC and
Weta."
Legato suggests that in many
ways, The Jungle Book's biggest innovation was the creation of a methodology

for filmmakers "who are fluent in analog
storytelling to be able to tell their stories
with the same fidelity [using] digital
tools. My basic thesis is that all filmmaking and all creativity is analog. You
need to feel a pencil on a paper - or
pluck a string to create a musical
composition. So here, we let traditional
filmmakers look through a camera -
look up, down and sideways - and
make the thousands of little decisions in
real time about what inspires them
about a shot or scene."
●

TECHNICAL SPECS
1.85:1
3D Digital Capture
Arri Alexa XT M
Panavision Primo

45



http://www.kinoflow.com

Table of Contents for the Digital Edition of American Cinematographer - May 2016

Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
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American Cinematographer - May 2016 - 20
American Cinematographer - May 2016 - 21
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American Cinematographer - May 2016 - 25
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American Cinematographer - May 2016 - 28
American Cinematographer - May 2016 - 29
American Cinematographer - May 2016 - 30
American Cinematographer - May 2016 - 31
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American Cinematographer - May 2016 - 33
American Cinematographer - May 2016 - 34
American Cinematographer - May 2016 - 35
American Cinematographer - May 2016 - 36
American Cinematographer - May 2016 - 37
American Cinematographer - May 2016 - 38
American Cinematographer - May 2016 - 39
American Cinematographer - May 2016 - 40
American Cinematographer - May 2016 - 41
American Cinematographer - May 2016 - 42
American Cinematographer - May 2016 - 43
American Cinematographer - May 2016 - 44
American Cinematographer - May 2016 - 45
American Cinematographer - May 2016 - 46
American Cinematographer - May 2016 - 47
American Cinematographer - May 2016 - 48
American Cinematographer - May 2016 - 49
American Cinematographer - May 2016 - 50
American Cinematographer - May 2016 - 51
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American Cinematographer - May 2016 - 53
American Cinematographer - May 2016 - 54
American Cinematographer - May 2016 - 55
American Cinematographer - May 2016 - 56
American Cinematographer - May 2016 - 57
American Cinematographer - May 2016 - 58
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American Cinematographer - May 2016 - 60
American Cinematographer - May 2016 - 61
American Cinematographer - May 2016 - 62
American Cinematographer - May 2016 - 63
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American Cinematographer - May 2016 - 78
American Cinematographer - May 2016 - 79
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American Cinematographer - May 2016 - 84
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American Cinematographer - May 2016 - 86
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