American Cinematographer - July 2011 - 53

nature of the cameras, but at some point we decided we liked it and that was the way it was going to be.” Unfortunately, that point came after they had carried out the color correction and picture cleanup at Tunnel Post. Glodell explains, “When the film got into Sundance, we borrowed money and called in a favor from a friend at Tunnel to get it as perfect as possible for the festival because we thought it was our big break. Tunnel did a wonderful job cleaning up the dirt and did a full color-correction pass. But when we saw the final product, it seemed wrong, even though it was beautifully done. “Tunnel stayed with us and helped the whole way; they set us up in one of their editing bays with a properly calibrated monitor and let us go crazy,” he continues. “We did the final pass on color in Final Cut Pro, swapping shots out [for] some of our old stuff that was [corrected] in FCP, [Adobe] After Effects and in-camera with looks [LUTs] made in Iridas. We were going

Another view of the camera, this time equipped with a militarystyle handgrip.

in and out of FirstLight, changing looks and tweaking using Final Cut plug-ins and whatever other plug-ins were on the machine in the editing bay. “It was a huge, expensive learning experience for us,” Glodell concludes. “But I think we did what was best for our movie.” ●

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American Cinematographer - July 2011

Table of Contents for the Digital Edition of American Cinematographer - July 2011
