American Cinematographer - July 2016 - 46

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The Aliens Strike Back

Cast and crew work on a stage-bound desert set surrounded by bluescreen, with a day-blue muslin
stretched overhead.

46

July 2016

American Cinematographer

right kind of eye light - then you can
go dark and still be connected to the
characters."
Förderer shot 4K and 6K
anamorphic on Red Epic Dragons for
the bulk of the movie. For selected
scenes when multiple cameras were
rolling, he employed a prototype Red
Weapon camera fitted with a 6K
Dragon sensor. The Weapon was often
employed in "tight car interiors where
the compact form factor allowed us to
shoot with longer lenses inside the car,"
he notes. Both camera models recorded
RedCode Raw at 5:1 compression to
512GB Red Mini-Mags.
In prep, the cinematographer
spent significant energy and time
developing a one-look LUT that was
used for monitoring on set throughout
the entire film. "We shot a 15-minute
sequence in prep to set a look," Förderer
says, "and then tested that look on a
number of different types of shots in our
sequence to see how it held up.
Supervising colorist Florian 'Utsi'
Martin created the show LUT with
me."
The LUT that was ultimately
used was based on Kodak film-print
emulation and also incorporated aspects
similar to what happens in the toe of
Fujifilm negative, while taking
advantage of Red's own color matrices as
well. "With the film-print emulation,
you get a really nice roll-off on the
highlights, but we were still
incorporating the native color space of
the Red to get the detail in the shadow
areas that film would compress,"
Förderer details. "Some Fuji-like
characteristics came in the shadow range
to put just a little green shift into the low
end. We loaded the LUT right into the
Weapon camera, whereas the Dragons
were connected to a Fujifilm IS-Mini
LUT box for monitoring on set.
"This way, everyone was looking
at the image the way we wanted, and this
LUT was baked into the dailies so that
Roland, the editors and our visual-effects
artists were working with it from day
one," the cinematographer notes. "That
makes a huge difference, because if you



Table of Contents for the Digital Edition of American Cinematographer - July 2016

Contents
American Cinematographer - July 2016 - Intro
American Cinematographer - July 2016 - Cover1
American Cinematographer - July 2016 - Cover2
American Cinematographer - July 2016 - 1
American Cinematographer - July 2016 - 2
American Cinematographer - July 2016 - 3
American Cinematographer - July 2016 - 4
American Cinematographer - July 2016 - Contents
American Cinematographer - July 2016 - 6
American Cinematographer - July 2016 - 7
American Cinematographer - July 2016 - 8
American Cinematographer - July 2016 - 9
American Cinematographer - July 2016 - 10
American Cinematographer - July 2016 - 11
American Cinematographer - July 2016 - 12
American Cinematographer - July 2016 - 13
American Cinematographer - July 2016 - 14
American Cinematographer - July 2016 - 15
American Cinematographer - July 2016 - 16
American Cinematographer - July 2016 - 17
American Cinematographer - July 2016 - 18
American Cinematographer - July 2016 - 19
American Cinematographer - July 2016 - 20
American Cinematographer - July 2016 - 21
American Cinematographer - July 2016 - 22
American Cinematographer - July 2016 - 23
American Cinematographer - July 2016 - 24
American Cinematographer - July 2016 - 25
American Cinematographer - July 2016 - 26
American Cinematographer - July 2016 - 27
American Cinematographer - July 2016 - 28
American Cinematographer - July 2016 - 29
American Cinematographer - July 2016 - 30
American Cinematographer - July 2016 - 31
American Cinematographer - July 2016 - 32
American Cinematographer - July 2016 - 33
American Cinematographer - July 2016 - 34
American Cinematographer - July 2016 - 35
American Cinematographer - July 2016 - 36
American Cinematographer - July 2016 - 37
American Cinematographer - July 2016 - 38
American Cinematographer - July 2016 - 39
American Cinematographer - July 2016 - 40
American Cinematographer - July 2016 - 41
American Cinematographer - July 2016 - 42
American Cinematographer - July 2016 - 43
American Cinematographer - July 2016 - 44
American Cinematographer - July 2016 - 45
American Cinematographer - July 2016 - 46
American Cinematographer - July 2016 - 47
American Cinematographer - July 2016 - 48
American Cinematographer - July 2016 - 49
American Cinematographer - July 2016 - 50
American Cinematographer - July 2016 - 51
American Cinematographer - July 2016 - 52
American Cinematographer - July 2016 - 53
American Cinematographer - July 2016 - 54
American Cinematographer - July 2016 - 55
American Cinematographer - July 2016 - 56
American Cinematographer - July 2016 - 57
American Cinematographer - July 2016 - 58
American Cinematographer - July 2016 - 59
American Cinematographer - July 2016 - 60
American Cinematographer - July 2016 - 61
American Cinematographer - July 2016 - 62
American Cinematographer - July 2016 - 63
American Cinematographer - July 2016 - 64
American Cinematographer - July 2016 - 65
American Cinematographer - July 2016 - 66
American Cinematographer - July 2016 - 67
American Cinematographer - July 2016 - 68
American Cinematographer - July 2016 - 69
American Cinematographer - July 2016 - 70
American Cinematographer - July 2016 - 71
American Cinematographer - July 2016 - 72
American Cinematographer - July 2016 - 73
American Cinematographer - July 2016 - 74
American Cinematographer - July 2016 - 75
American Cinematographer - July 2016 - 76
American Cinematographer - July 2016 - 77
American Cinematographer - July 2016 - 78
American Cinematographer - July 2016 - 79
American Cinematographer - July 2016 - 80
American Cinematographer - July 2016 - 81
American Cinematographer - July 2016 - 82
American Cinematographer - July 2016 - 83
American Cinematographer - July 2016 - 84
American Cinematographer - July 2016 - 85
American Cinematographer - July 2016 - 86
American Cinematographer - July 2016 - 87
American Cinematographer - July 2016 - 88
American Cinematographer - July 2016 - Cover3
American Cinematographer - July 2016 - Cover4
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