American Cinematographer - June 2018 - 85

enhance those color schemes. I tend not
to use LUTs, and I wasn't trying to
emulate any particular film stock, except
for the Super 16mm look and feel. The
way I like to go about shooting digitally
is very basic. For every scene, I put an
18-percent gray card in front of the lens
with a 3,200K or 5,600K light -
depending on what the color temperature of the scene is - and whitebalance the camera to the gray card, and
have the dailies colorist set the timing to
the gray card. I consistently get accurate
dailies this way and seldom need to send
frame-grabs to my dailies timer, unless it
is a very complex color scheme I'm
going for.
What kinds of adjustments did
you and Joe make to the image?
DeMarco: Joe used [Blackmagic
Design] DaVinci Resolve to match
exposures and skin tones, and we used
loads of windows to track faces and [to]
shadow or highlight areas in the frame.
We also used LiveGrain because the

Super 16mm extraction image straight
out of the camera still wasn't grainy
enough for John!
It's been seven years since you
last made a feature with John
Cameron Mitchell, and though you've
made several with other filmmakers in
that time, he's only made films with
you. How is your relationship with
John unique among your creative
collaborations?
DeMarco: John and I are fierce
friends. As in any friendship, you can
occasionally hurt each other a little bit,
but the good has always outweighed the
bad. So there's a social component to
our collaboration. Also, as a filmmaker
he tries to work with the same crew,
because when the s--- hits the fan,
communication is better as an understood thing rather than having to
explain yourself.
‚óŹ

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Amira, GoPro Hero4 Black
Zeiss Standard Speed,
MKIII Super Speed,
LWZ.2; Angenieux Optimo;
Arri/Fujinon Alura;
Arri/Zeiss Ultra 16;
Canon Super 16mm zoom


http://k5600.com

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
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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