American Cinematographer - July 2015 - 72

◗

Harmony and Discord

The real-life Brian Wilson (center) poses with the onscreen Beach Boys, as played by (from left) Graham
Rogers (Al Jardine), Davern, Dano, Abel and Kenny Wormald (Dennis Wilson).

lighting [in the Eighties-set scenes]. We
tried to glamorize Melinda, but not
unrealistically. She's the film's guardian
angel, and we wanted to portray her in a
very positive light. We would bring in a
big, soft source - typically a small
1,200-watt HMI for a daytime scene or
a 2K with a Chimera over the camera
for nighttime."
FotoKem assembled the lab rolls
for scanning, which was done by EFilm
Hollywood on an Arriscan system at 3K
for a sharper image that was then scaled
down to 2K. At the end of every day,
Yeoman sent notes on color and contrast
to EFilm dailies colorist Ben Estrada,
and - since the movie shot in L.A. -
he would occasionally drop by the
timing bay. "Bob and I discussed the
vision of the movie early on, and we
applied some looks to the hair and
makeup tests he had shot," says Estrada,
who timed with Autodesk's Lustre software. "We have the same view on color
correction: 'Less is more.' That approach
allowed Bob's in-camera work to really
come through, and it produced a more
realistic image."
72

July 2015

When Estrada completed the
color correction, LUTs were then
applied for each deliverable, preserving
the intended look through to temp cuts
and early screenings. EFilm provided
Avid Media on portable hard drives to
editor Dino Jonsäter, and Blu-ray discs
to Pohlad and Yeoman.
After principal photography
wrapped, Yeoman spent a couple of days
establishing looks with DI colorist Tom
Poole at Company 3 in New York.
"Tom caught on to our look right away,"
Yeoman says. "He brought some great
ideas and I encouraged him to run with
them." Yeoman then had to leave for
Budapest to prep the Feig-directed
comedy Spy; the cinematographer later
flew to Company 3's London office for
one weekend to screen a near-final pass
and offer feedback via e-mail.
Poole worked with 10-bit DPX
files in DaVinci Resolve 10; the
2048x1156 filmout was done on an
Arrilaser recorder. Poole says he saw his
main goal as helping to establish two
worlds that were distinct yet complementary. "The 1960s footage was all
American Cinematographer

about playing to the strengths of the art
direction and wardrobe," he explains. "I
referenced vintage Kodachrome images
for color saturation and hue. The 1980s
footage was about that time period's
poppy saturation."
Matching new and archival
footage for the title sequence presented
Poole with his biggest challenge. "We
played around with coloring the negative and then filmed out to print," he
explains. "We then [scanned and]
colored that print to create a highly stylized photochemical look. It took several
attempts to get it just right."
The entire production team
banded together to re-create a golden
era when Beach Boys songs mythologized California and a tortured pop
wunderkind rode the crest of his mighty
talent, wiped out and ultimately resurfaced. Along the way, Yeoman gained a
new perspective on Wilson, who visited
the set and performed at the wrap party.
"I was a kid in the Sixties when all that
was going on, and I didn't really grasp
what a musical genius Brian Wilson was
and is," the cinematographer says.
"Working on this film brought about a
whole new appreciation. I stand back in
awe."
●

TECHNICAL SPECS
1.85:1
3-perf Super 35mm,
Super 16mm
Panaflex Platinum,
Millennium XL; Arriflex 16 SR3
Panavision Primo, Canon,
Arri Ultra 16
Kodak Vision3 200T 5213,
500T 5219, 200T 7213
Digital Intermediate



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
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