American Cinematographer - June 2016 - 71

ground. And not one byte was lost!"
Photography wrapped in midDecember, 2015. The final color grade
was performed by Brett Trider with
Autodesk Lustre at Technicolor
Toronto. "Final DCP was 4K, as was the
color-grading resolution," Neihouse
says. The cinematographer further notes
that because the C500 was generally
used for interiors and the 1D C
primarily for Earth shots - and that the
GoPros and Phantom were used in such
different kinds of environments - there
were no substantial issues with matching
the footage between cameras.
The film also underwent a
stereoscopic post-conversion performed
by Legend3D. "Hugh Murray was our
stereographer, and he supervised the
conversion process," Neihouse says. "I sat
in on some of the depth-approval
screenings. I was very impressed with the
job Legend3D did with the conversions,
and even more impressive was the
excitement they had for the project.

They were really wonderful."
In comparing the conversion
process to shooting in native 3D,
Neihouse notes, "I'm a fan of shooting
3D natively, but that really was not an
option for this project. The amount of
data would have been overwhelming; if
it had been in native 3D, [the existing]
number would have doubled. There were
other reasons that led us to shoot 2D and
post-convert, such as not wanting to fly a
3D rig and having to deal with the
challenges that brings to the table.
"It's hard to believe that I'm saying
this, because I'm an old film guy,"
Neihouse continues, "but I was amazed
seeing the results of the C500 footage
through Imax's new xenon laser dualprojector system on a full Imax screen.
The way the stuff looks on the laser
system really does rival [15-perf ] 70mm
film - especially Imax 15/70 original
film that goes through a DI process with
a filmout at 5.6K."
Reflecting on the journey to bring

A Beautiful Planet to the screen, Neihouse
offers, "It's been a very fun project to do,
and the crew was just incredible. The film
compares living on the planet to living on
the Space Station. We have all these
things that we just take for granted -
water, air - but when those things are
limited like they are on the space station,
everyone has to do [his or her] part to
conserve. The people on Earth need to
be treating each other like crewmates,
respecting our needs and taking care of
our resources. There's no free ride." ●

TECHNICAL SPECS
1.44:1
Digital Capture
Canon Cinema EOS C500,
EOS-1D C; GoPro Hero4 Silver;
Vision Research Phantom Flex4K
Canon EF, Nikon Nikkor,
Arri/Zeiss Master Prime

71



http://www.jlfisher.com http://www.jlfisher.de

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

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
American Cinematographer - June 2016 - 25
American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
American Cinematographer - June 2016 - 29
American Cinematographer - June 2016 - 30
American Cinematographer - June 2016 - 31
American Cinematographer - June 2016 - 32
American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
American Cinematographer - June 2016 - 39
American Cinematographer - June 2016 - 40
American Cinematographer - June 2016 - 41
American Cinematographer - June 2016 - 42
American Cinematographer - June 2016 - 43
American Cinematographer - June 2016 - 44
American Cinematographer - June 2016 - 45
American Cinematographer - June 2016 - 46
American Cinematographer - June 2016 - 47
American Cinematographer - June 2016 - 48
American Cinematographer - June 2016 - 49
American Cinematographer - June 2016 - 50
American Cinematographer - June 2016 - 51
American Cinematographer - June 2016 - 52
American Cinematographer - June 2016 - 53
American Cinematographer - June 2016 - 54
American Cinematographer - June 2016 - 55
American Cinematographer - June 2016 - 56
American Cinematographer - June 2016 - 57
American Cinematographer - June 2016 - 58
American Cinematographer - June 2016 - 59
American Cinematographer - June 2016 - 60
American Cinematographer - June 2016 - 61
American Cinematographer - June 2016 - 62
American Cinematographer - June 2016 - 63
American Cinematographer - June 2016 - 64
American Cinematographer - June 2016 - 65
American Cinematographer - June 2016 - 66
American Cinematographer - June 2016 - 67
American Cinematographer - June 2016 - 68
American Cinematographer - June 2016 - 69
American Cinematographer - June 2016 - 70
American Cinematographer - June 2016 - 71
American Cinematographer - June 2016 - 72
American Cinematographer - June 2016 - 73
American Cinematographer - June 2016 - 74
American Cinematographer - June 2016 - 75
American Cinematographer - June 2016 - 76
American Cinematographer - June 2016 - 77
American Cinematographer - June 2016 - 78
American Cinematographer - June 2016 - 79
American Cinematographer - June 2016 - 80
American Cinematographer - June 2016 - 81
American Cinematographer - June 2016 - 82
American Cinematographer - June 2016 - 83
American Cinematographer - June 2016 - 84
American Cinematographer - June 2016 - 85
American Cinematographer - June 2016 - 86
American Cinematographer - June 2016 - 87
American Cinematographer - June 2016 - 88
American Cinematographer - June 2016 - 89
American Cinematographer - June 2016 - 90
American Cinematographer - June 2016 - 91
American Cinematographer - June 2016 - 92
American Cinematographer - June 2016 - 93
American Cinematographer - June 2016 - 94
American Cinematographer - June 2016 - 95
American Cinematographer - June 2016 - 96
American Cinematographer - June 2016 - 97
American Cinematographer - June 2016 - 98
American Cinematographer - June 2016 - 99
American Cinematographer - June 2016 - 100
American Cinematographer - June 2016 - 101
American Cinematographer - June 2016 - 102
American Cinematographer - June 2016 - 103
American Cinematographer - June 2016 - 104
American Cinematographer - June 2016 - 105
American Cinematographer - June 2016 - 106
American Cinematographer - June 2016 - 107
American Cinematographer - June 2016 - 108
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American Cinematographer - June 2016 - 110
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American Cinematographer - June 2016 - 116
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American Cinematographer - June 2016 - 119
American Cinematographer - June 2016 - 120
American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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