American Cinematographer - July 2014 - 79

The crew readies a truck rig for a ride over rough terrain.

which are mostly small practical sources
supported by small film lights."
All the lights were colored in
some manner. "The supposed streetlamps are mercury-greenish. The hotel
is lit by existing fluorescents, then
supplemented by more fluorescents
with a different green gel. The yellow
hotel sign was there; we just increased
the level and hid some Kinos with [a
matching] yellow gel behind it, so the
yellow would reflect on the wall. We
also had a balloon light on an arm; it was
quite small, but gave a bit of fill, so I
could be super dark, like 4 stops under,
but you could still perceive the police
and Guy behind the car."
Firelight came into play in two
major dialogue scenes, when Eric and
Rey bed down by a campfire. One ran
for seven minutes. "It's not the same as
doing a 4-second fire effect for a
commercial, or a movie where you
might stay on the shot for 20 seconds,"
Braier says. "The shorter the shot is, the
more you can get away with."
For this scene, Braier combined
real fire with gelled Redheads run separately through a flicker box and dimmer
board. "My gaffer was deejaying the
fluctuations - playing with what the
natural fire was doing and following my

hands as I played orchestral director.
There were specific moments I wanted
them to be more exposed to the light
and moments I wanted them darker,
depending on what the actors were
saying. It was really fine work - we
were so tense! Every shot is like a live
performance for seven minutes. You had
to get it right every second, because they
just might use the whole take."
Color correction took place at
DDP Studios. The negative was
scanned at 4K with an Arriscan, and
then Michôd and Braier spent two
weeks with colorist Trish Cahill on the
digital grade. Grading was done with
Autodesk Lustre on an HP Z800; an
Arrilaser produced the 4096x2312
filmout. Deluxe Hollywood produced
the 35mm deliverables; negative stock
was Kodak Vision 2242 and positive
print stock was Kodak Vision 2383.
"The way I shoot, I don't have to
do much in the grade," says Braier. "The
main thing is to reflect how it would
look if it were a normal print from the
negative, with the right printer lights.
Once I get that gamma and color right,
and it doesn't look digital, there's not so
much to do. I'd already shot it incamera, because I come from that old➣
time cinematography school."
79



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American Cinematographer - July 2014

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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
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