American Cinematographer - July 2014 - 49

Top: Magneto
defends the
monastery where
the mutants have
taken refuge.
Bottom: McKellan
hovers above the
greenscreen set
while the 3-D
camera rig,
mounted on a
Technocrane,
captures the
action.

The second unit also used the
Summilux-C primes in certain situations, but relied more generally on
Fujinon Premiere 18-85mm T2.0 and
24-180mm T2.6 zooms.
Framing for a final 2.40:1 release,
the filmmakers recorded an ArriRaw
16:9 signal onto Codex Onboard S
recorders while simultaneously capturing a backup ProRes 4:4:4:4 2K signal
in the Alexa M camera bodies. The
Alexa XT Plus systems used for second
unit recorded an ArriRaw signal directly
onboard. The production's 3-D systems
supervisor, Ben Gervais, says the datamanagement team was given an edict to
"make the workflow as efficient as
possible on set, while minimizing our
footprint and keeping everything
mobile." Toward that end, Gervais
collaborated with Arri and Panavision
to create a custom fiber-optic system
that "reduced rig communication, the
two camera signals and video-return
signals to travel down a single, rugged
fiber cable," he says. "That allowed the
recording and video infrastructure to be
1,000 feet or more from the camera,

reducing the number of video-village
moves to a minimum." Digital-imaging
technician Julie Garceau utilized a Sony
BVM-E250 OLED monitor during
production while applying a viewing
LUT built around basic CDL values.
Sigel also sought to establish an
www.theasc.com

advanced look and color scheme each
day in collaboration with his dailies
colorist, Adrian Delude. That visual
blueprint could then travel all the way
through the digital-intermediate phase
with his longtime colorist, Stephen
Nakamura, at Company 3 in Santa
July 2014

49



http://www.theasc.com

American Cinematographer - July 2014

Table of Contents for the Digital Edition of American Cinematographer - July 2014

Contents
American Cinematographer - July 2014 - Cover1
American Cinematographer - July 2014 - Cover2
American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
American Cinematographer - July 2014 - Contents
American Cinematographer - July 2014 - 4
American Cinematographer - July 2014 - 5
American Cinematographer - July 2014 - 6
American Cinematographer - July 2014 - 7
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American Cinematographer - July 2014 - 48
American Cinematographer - July 2014 - 49
American Cinematographer - July 2014 - 50
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