American Cinematographer - June 2018 - 110

◗

Peak Performance

The crew shoots with sprinter Morgan Mitchell.

110

June 2018

American Cinematographer

[Canon] EF lenses, and I had a mix of
Leica R lenses and Zeiss ZF lenses that
went on the smaller cameras.
Nolan: There was really no allegiance here. It was based on whatever
was the best tool for the current setting.
Final Frame, the post house that we
worked with for all the color correction,
did an immaculate job of marrying
everything together.
Behrens: We shot Log for everything, which really gives you the flexibility to color-correct later and mix
everything, and make it all not selfconscious.
Were you able to be involved in
the color correction?
Nolan: I did go sit in on the color
correction for about a week here in New
York City, and I was pretty blown away
at how malleable everything really was.
There were not a lot of changes being
made, just little matches here and there.
But it was a very interesting process. It
was also the first time I saw the film in
whole, so - as much as I wanted to say,
'Hey, stop, can we lift the blacks a little
here?' - I just wanted to finally watch
the whole thing through.
Who was the colorist at Final
Frame?
Nolan: Will Cox. He is the cofounder of the facility; he had also
worked with Louie on Racing Extinction
and The Cove [AC Aug. '09], so he knew
what he was getting himself into and was
definitely familiar with that workflow.
What sort of lighting package
did you carry for The Game Changers?
Behrens: It varied a lot, and it
depended on where we were going.
Louie worked as a National Geographic
photographer for decades and is amazingly visual. His vision really led a lot of
the image-making that we did for this
film. And his preference is to go as
natural-light as possible; he's not a huge
fan of a lot of lighting. We made exceptions when we were doing sit-down
interviews, and of course for the
Phantom footage you need a massive
amount of light. But Scott Jurek's whole
journey - you didn't use lights on that,
➣
did you?



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

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
American Cinematographer - June 2018 - 10
American Cinematographer - June 2018 - 11
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American Cinematographer - June 2018 - 13
American Cinematographer - June 2018 - 14
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American Cinematographer - June 2018 - 17
American Cinematographer - June 2018 - 18
American Cinematographer - June 2018 - 19
American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
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American Cinematographer - June 2018 - 27
American Cinematographer - June 2018 - 28
American Cinematographer - June 2018 - 29
American Cinematographer - June 2018 - 30
American Cinematographer - June 2018 - 31
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American Cinematographer - June 2018 - 33
American Cinematographer - June 2018 - 34
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American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
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American Cinematographer - June 2018 - 50
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American Cinematographer - June 2018 - 54
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American Cinematographer - June 2018 - 57
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American Cinematographer - June 2018 - 62
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American Cinematographer - June 2018 - 110
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American Cinematographer - June 2018 - 136
American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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