American Cinematographer - July 2013 - 53

Craig Mumma of The CreativeCartel, a digital-workflow-management
company, supervised the pipeline on set,
collaborating with digital-imaging technician Toby Gallo. Mumma was
impressed with the F65’s performance
in the humidity of the jungle. “The only
time the camera didn’t do well — and
this is typical of all digital cameras —
was when we had to put it in a water bag
for long periods,” he says. “It overheats
when it’s confined like that.”
The F65 recorded 16-bit linear
raw files to SRMemory Cards in the
SRR-4 memory recorder fitted onto the
back of the cameras. The mags were
available in two sizes, 512 gigabytes
(facilitating about 30 minutes of 4K
capture) and 1 terabyte (about one
hour).
“What’s great about working
with Peter and Night is that they are
both very disciplined filmmakers,” notes
Mumma. “They know what they need
to shoot, and they’re not wasteful. In
prep, Night said he wouldn’t shoot more
than [the equivalent of ] 8,800 feet a day,
and when I asked, ‘Why that number
exactly?’ he answered, ‘I just know what
I shoot.’ And on the first day, we had the
equivalent of 8,760 feet!
“Another thing he said was, ‘I’m a
film guy, so I’ll yell, “Check the gate!”’ I
assured him he could still do that, and
when he did, we’d do a spot check of the
footage in fast-forward after each
setup.”
Mumma says he strives to keep
things simple and “take the voodoo out
of the workflow.” He set up a lab close
to the set to receive the shot mags, make
clones and create graded dailies. He
notes that no mags were erased on set,
and every mag that was cloned and
checked was clearly labeled. He also
required someone to watch every take
that was shot. “I tell my team, ‘Lose a
frame, get on a plane!’ Everybody’s hard
work is being funneled into the lens, and
if we lose a frame, we haven’t done our
jobs.” The mags were played back on a
Sony SRPC5 and copied onto a
FilmLight Baselight Transfer system,
which generated LTO clones, as well as

dailies in DNX and H.264 formats.
On set, the F65 HD-video
output (with Sony’s S-Log2 applied)
was sent to a FilmLight Truelight color
corrector in the DIT tent, where it was
adjusted by Gallo and monitored by
Suschitzky and Flam. Gallo applied
ASC-CDL corrections of Lift,
Gamma, Gain and Saturation, as indicated by Suschitzky, and this information was transmitted at the end of each

day to Mumma’s lab so they could be
applied to dailies and recorded in the
Joust database for post.
Sony designed the F65’s raw
signal to be compatible with the 16-bit
linear ACES workflow standard.
Simply put, ACES requires an Input
Device Transform for incoming signals,
and an Output Device Transform for
outgoing signals. Mumma states that
the HD S-Log2 signal went through an

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American Cinematographer - July 2013

Table of Contents for the Digital Edition of American Cinematographer - July 2013