American Cinematographer - May 2017 - 40
◗
Not Quite Human
Giant holographic apparitions dubbed "solograms" were captured with a "motion
photogrammetry" camera-array system developed by Dayton Taylor.
exists between two worlds. She's part
machine and part human. The narrative
is driven by her seeking her place within
that. I like the idea of expressing this
third space she inhabits with a traveling
camera that is somewhat ethereal,
exploratory and unsettled."
***
During preproduction, Hall
worked with Yvan Lucas at Shed to
develop a show LUT, which was used
40
May 2017
throughout the shoot. On the set, he
worked in D65 P3 color space, in part to
help maintain color accuracy. The colors
in Ghost were designed for the camera to
read, and they were controlled through
the LUT to maintain consistency.
"I've always found Rec 709 to be
a somewhat crude way to view things,"
says Hall. The cinematographer collaborated with Ian Bidgood, technical
director at Park Road, to implement an
on-set P3 monitoring system, which
meant the production could go with
American Cinematographer
standard color gamma and push these
colors farther. "Park Road Post set up the
workflow so that I was monitoring P3 on
set and projecting in P3 with my dailies,
without shifting the LUT," Hall notes.
"The result was a seamless workflow in a
unified color space, which required little
or no color correction."
Urban worked with the team at
Moxion, "an online dailies application, to
accept and display DPX frames correctly,"
he explains. From there, he created a
secure online database to share between
shooting units, post and eventually pickups in L.A. He also used Moxion to
collate all the metadata using ALEs from
editorial. "This enabled the DITs, post
and the camera department to go back
and check T-stop, lens, color temp, LUT,
CDL, etc. in a still-frame database organized by scene and setup," he says.
Urban's company, The Rebel Fleet,
supplied identical DIT carts in New
Zealand and Hong Kong for main and
second unit that included two Sony 25"
OLEDs, a 17" Sony OLED, Fuji ISMini LUT boxes, Pomfort LiveGrade,
Blackmagic Design DaVinci Resolve,
Tangent Devices Element Panel, AJA
Kumo routers, Teradek's Bolt 2000 and
Decimator's DMON-6 splitter.
Arri's Alexa 65 requires the use of
the Codex Vault 65 for initial processing
of the raw camera acquisition. "Having
Codex Wellington, L.A. and London on
call meant we were covered around the
clock, which helped, and meant they
could pull in gear or expertise when
needed," says Urban. "Having so many
pixels meant that the noise floor was
drastically reduced when going from a 5K
resolution to 2K screenings. Jess based
[his camera settings] at 800 EI, but we
knew we could call on 1,000 EI or 1,280
EI without noticing a jump in noise."
Hall confirms that he occasionally
employed 1,000 and 1,280 EI "when
more depth of field was required."
Park Road has been moving
toward the use of one seamless color
space on set, in dailies grading, in visual
effects, and for the final online DI
mastering for some time. The company's
workflow architect Anthony Pratt notes
Table of Contents for the Digital Edition of American Cinematographer - May 2017
Contents
American Cinematographer - May 2017 - Cover1
American Cinematographer - May 2017 - Cover2
American Cinematographer - May 2017 - 1
American Cinematographer - May 2017 - 2
American Cinematographer - May 2017 - Contents
American Cinematographer - May 2017 - 4
American Cinematographer - May 2017 - 5
American Cinematographer - May 2017 - 6
American Cinematographer - May 2017 - 7
American Cinematographer - May 2017 - 8
American Cinematographer - May 2017 - 9
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American Cinematographer - May 2017 - 11
American Cinematographer - May 2017 - 12
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American Cinematographer - May 2017 - 14
American Cinematographer - May 2017 - 15
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American Cinematographer - May 2017 - 17
American Cinematographer - May 2017 - 18
American Cinematographer - May 2017 - 19
American Cinematographer - May 2017 - 20
American Cinematographer - May 2017 - 21
American Cinematographer - May 2017 - 22
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American Cinematographer - May 2017 - 25
American Cinematographer - May 2017 - 26
American Cinematographer - May 2017 - 27
American Cinematographer - May 2017 - 28
American Cinematographer - May 2017 - 29
American Cinematographer - May 2017 - 29A
American Cinematographer - May 2017 - 29B
American Cinematographer - May 2017 - 29C
American Cinematographer - May 2017 - 29D
American Cinematographer - May 2017 - 30
American Cinematographer - May 2017 - 31
American Cinematographer - May 2017 - 32
American Cinematographer - May 2017 - 33
American Cinematographer - May 2017 - 34
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American Cinematographer - May 2017 - 40
American Cinematographer - May 2017 - 41
American Cinematographer - May 2017 - 42
American Cinematographer - May 2017 - 43
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American Cinematographer - May 2017 - 49
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American Cinematographer - May 2017 - Cover3
American Cinematographer - May 2017 - Cover4
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