American Cinematographer - May 2017 - 42

◗

Not Quite Human
Hall and
Sanders plan
their next
move.

that the advantages of a single color
space show up in consistency, communication, efficiency, creativity and trust.
"Jess orchestrated an approach
that leveraged the full gamut of the
camera - and which clearly defined a
completely unique world," says Pratt.
"On set, Jess had absolute confidence
that the full gamut of the images
captured in-camera tracked through,

42

enabling rapid creative color decisions.
Jess could prelight with confidence, as
the correct P3 color space was used
when passing a CDL/still through to
the dailies suite. Back at Park Road, we
could then offer further look development using the full power of the SGO
Mistika grading platform - and the
looks offered tracked accurately when
sent back from Park Road to the set."

With the production based at
nearby Stone Street Studios, a private
fiber-optic connection direct from Stone
Street to Park Road facilitated data
management. Park Road's pipeline
ensures the availability of the underlying
raw image. Pratt used an optimized GPU
de-Bayer approach in the Mistika platform, without compromising the images.
After de-Bayering, the ArriRaw media
was presented as Log C wide gamut and
scaled into a 2K dailies environment.
Hall and Sanders graded the final
DI master at Technicolor Hollywood
with supervising digital colorist and ASC
associate member Michael Hatzer.
Hatzer and his team used multiple Flame
Premium workstations to assist him in
delivering various 2K DCP packages in
2D and 3D xenon, in addition to 2D and
3D Dolby Vision laser-projection format,
that benefited greatly from the P3
pipeline.
"As we began, fundamentals like
overall exposure and balance, and the



http://www.theasc.com

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 - 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
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American Cinematographer - May 2017 - 41
American Cinematographer - May 2017 - 42
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American Cinematographer - May 2017 - Cover3
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