American Cinematographer - July 2015 - 24

Top: The three friends become embroiled in a high-stakes misadventure after a rival gang shoots up
the nightclub. Bottom: Cinematographer Rachel Morrison on set for the feature Little Accidents.

use of iPhones ranging from 4 to 5S, his
own LG E980, a Nokia Lumina 635 and a
Samsung Galaxy. "It was all as spontaneous
as the party scene itself," he says, "with
personal phones as well as prop units."
Morrison sometimes assigned the
operators specific smartphone shooting
tasks, "but for the most part, the extras
were given free reign." For simplicity's sake,
she eschewed any apps. "There just wasn't
the time to teach the extras," she says. Plus,
"the intention was for it to look like an
iPhone, so the lower-fi, the better."
Phone and camcorder footage was
ingested into the DaVinci Resolve workflow,
but was initially left with natural color for
24

July 2015

authenticity, "with slight lifting as required,"
notes Paulin. "It was then oriented, de-interlaced, scaled and frame-rate normalized to
1080p at 23.976 fps for the editors' initial
work."
All camera footage was saved initially
to an SSD RAID, "and duplicated immediately to an eSATA backup drive and a dailyshuttle FireWire drive," says Paulin. "The
entire media set was archived to LTO tape
for safekeeping."
Racing the clock for Sundance, color
correction took place over eight days at
Local Hero Post. Grading was done in 2.5K
from the Alexas' original anamorphic QuickTime camera masters using Assimilate's
American Cinematographer

Scratch system for conform, color and
mastering, with a 2K DCP as their final goal.
Having just given birth, Morrison
spent just the first few days with supervising
colorist Leandro Marini and colorist Dave
Franks, then returned three times to check
passes. Their main objective, the cinematographer notes, was "finding the right
balance between saturation, contrast and
color. We wanted it to be colorful, but not
hypersaturated." Marini adds, "The film is a
little heightened and a bit surreal, so we
embraced a colorful, punchy look with a
little grit and a small amount of grain
added. In the end, we were aiming for
something that looked fun and not digital."
Though Morrison's next project is a
serious drama - HBO's Confirmation,
which reunites the cinematographer with
Famuyiwa - she remembers the comedic
interlude of Dope with fondness. "The
moments that were laugh-out-loud on
screen definitely felt that way on set," she
attests. "I love shooting drama, but there's
something nice about a set where people
are loose and having fun."

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa Plus 4:3, Alexa XT;
Panasonic AG-DVX100; iPhone 4, 4S, 5, 5S;
LG E980; Nokia Lumina 635;
Samsung Galaxy
Panavision G Series, E Series

➣



Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
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