American Cinematographer - July 2015 - 43

control panels and Blackmagic
HDLink converters to impose the
resulting LUT on the monitored
image. This equipment, owned by
O'Brien, drives 17" Sony OLED
displays. Astro 3014 monitors, with
their comprehensive test-and-measurement facilities, are also used.
Recordings are made in ProRes 4:4:4:4
to 64GB SxS cards, except when
specific visual-effects shots can make
use of the greater information in a raw
recording. In this case, Codex's USB3
Capture Drive Dock is used to move
ArriRaw material directly into a Maccentric data-wrangling workflow; on
particularly heavy raw-acquisition days,
an additional data wrangler may be
added to the camera department. Rawheavy days may generate up to 1TB of
data, whereas the unit might ordinarily
produce 300-400GB of data each day.
Three copies are made on set, using
Silverstack, while Dublin-based postproduction house Screen Scene takes

care of LTO tape backup and shipping
to the conform and grade facilities in
Canada. Dailies are created in
Assimilate's Scratch and distributed on
iPads via the DAX digital dailies
system, while the final grades are
supervised via Internet link from
London.
Both in the intricacies of its
technical execution and its artistic
intent, Penny Dreadful is unmistakably
a production of grand ambition. "Irish
cinematographers, such as John and
myself, are getting to do jobs that we'd
never get to do beforehand," McPolin
attests. "We get to shoot scale. In
Britain, particularly with the traditional
broadcasters, they're seeing that it's
important that they have a bigger scale
so they can compete. The resources
they're throwing at [Penny Dreadful]
are incredible, because they're going up
against the biggest movies. 'Think big,'
they say. 'If you need something, we'll
consider it, and we'll do our damnedest

to get it for you.'"
"I loved every second of it,"
Conroy says. "John Logan is really
generous with his time; Karen
[Richards] and the production team
were second to none. When I did the
show I had a broken foot, but I didn't
tell anybody because I desperately
wanted to shoot it! It was worth it. It's
the kind of stuff that you always strive
to shoot, and it was one of the best
production experiences I've ever had."
‚óŹ

TECHNICAL SPECS
1.78:1
Digital Capture
Arri Alexa XT Plus
Cooke S4,
Clairmont Swing and Shift

43


http://www.kinoflo.com http://www.kinoflo.com

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
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
American Cinematographer - July 2015 - 16
American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
American Cinematographer - July 2015 - 32
American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
American Cinematographer - July 2015 - 64
American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
American Cinematographer - July 2015 - 69
American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
American Cinematographer - July 2015 - 74
American Cinematographer - July 2015 - 75
American Cinematographer - July 2015 - 76
American Cinematographer - July 2015 - 77
American Cinematographer - July 2015 - 78
American Cinematographer - July 2015 - 79
American Cinematographer - July 2015 - 80
American Cinematographer - July 2015 - 81
American Cinematographer - July 2015 - 82
American Cinematographer - July 2015 - 83
American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
American Cinematographer - July 2015 - 86
American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
http://www.nxtbook.com/nxtbooks/ac/ac1219
http://www.nxtbook.com/nxtbooks/ac/ac1119
http://www.nxtbook.com/nxtbooks/ac/ac1019
http://www.nxtbook.com/nxtbooks/ac/ac0919
http://www.nxtbook.com/nxtbooks/ac/ac0819
http://www.nxtbook.com/nxtbooks/ac/ac0719
http://www.nxtbook.com/nxtbooks/ac/ac0619
http://www.nxtbook.com/nxtbooks/ac/ac0519
http://www.nxtbook.com/nxtbooks/ac/ac0419
http://www.nxtbook.com/nxtbooks/ac/ac0319
http://www.nxtbook.com/nxtbooks/ac/ac0219_v2
http://www.nxtbook.com/nxtbooks/ac/ac0219
http://www.nxtbook.com/nxtbooks/ac/ac0119_v2
http://www.nxtbook.com/nxtbooks/ac/ac0119
http://www.nxtbook.com/nxtbooks/ac/ac1218
http://www.nxtbook.com/nxtbooks/ac/ac1118
http://www.nxtbook.com/nxtbooks/ac/ac1018
http://www.nxtbook.com/nxtbooks/ac/ac0918
http://www.nxtbook.com/nxtbooks/ac/ac0818
http://www.nxtbook.com/nxtbooks/ac/ac0718
http://www.nxtbook.com/nxtbooks/ac/ac0618
http://www.nxtbook.com/nxtbooks/ac/ac0518
http://www.nxtbook.com/nxtbooks/ac/ac0418
http://www.nxtbook.com/nxtbooks/ac/ac0318
http://www.nxtbook.com/nxtbooks/ac/ac0218
http://www.nxtbook.com/nxtbooks/ac/ac0118
http://www.nxtbook.com/nxtbooks/ac/ac1217
http://www.nxtbook.com/nxtbooks/ac/ac1117
http://www.nxtbook.com/nxtbooks/ac/ac1017
http://www.nxtbook.com/nxtbooks/ac/ac0917
http://www.nxtbook.com/nxtbooks/ac/ac0817
http://www.nxtbook.com/nxtbooks/ac/ac0717
http://www.nxtbook.com/nxtbooks/ac/ac0617
http://www.nxtbook.com/nxtbooks/ac/ac0517
http://www.nxtbook.com/nxtbooks/ac/ac0417
http://www.nxtbook.com/nxtbooks/ac/ac0317
http://www.nxtbook.com/nxtbooks/ac/ac0217
http://www.nxtbook.com/nxtbooks/ac/ac0117
http://www.nxtbook.com/nxtbooks/ac/ac1216
http://www.nxtbook.com/nxtbooks/ac/ac1116
http://www.nxtbook.com/nxtbooks/ac/ac1016
http://www.nxtbook.com/nxtbooks/ac/ac0916
http://www.nxtbook.com/nxtbooks/ac/ac0816
http://www.nxtbook.com/nxtbooks/ac/ac0716
http://www.nxtbook.com/nxtbooks/ac/ac0616
http://www.nxtbook.com/nxtbooks/ac/ac0516
http://www.nxtbook.com/nxtbooks/ac/ac0416
http://www.nxtbook.com/nxtbooks/ac/ac0316
http://www.nxtbook.com/nxtbooks/ac/ac0216
http://www.nxtbook.com/nxtbooks/ac/ac0116
http://www.nxtbook.com/nxtbooks/ac/ac1215
http://www.nxtbook.com/nxtbooks/ac/ac1115
http://www.nxtbook.com/nxtbooks/ac/ac1015
http://www.nxtbook.com/nxtbooks/ac/ac0915
http://www.nxtbook.com/nxtbooks/ac/ac0815
http://www.nxtbook.com/nxtbooks/ac/ac0715
http://www.nxtbook.com/nxtbooks/ac/ac0615
http://www.nxtbook.com/nxtbooks/ac/ac0515
http://www.nxtbook.com/nxtbooks/ac/ac0415
http://www.nxtbook.com/nxtbooks/ac/ac0315
http://www.nxtbook.com/nxtbooks/ac/ac0215
http://www.nxtbook.com/nxtbooks/ac/ac0115
http://www.nxtbookMEDIA.com