American Cinematographer - July 2017 - 63

adds that "the C Series' lower contrast
proved invaluable in the harsh desert
light by slightly raising and milking out
the blacks."
Vincent also used this test footage
to create the 3D LUTs he employed for
on-set monitoring. He started with a
Fujifilm Eterna Vivid 160T 8543 filmemulation LUT from FilmConvert and
tweaked it to create three separate looks
- one each for day, night and day-fornight.
"We tested quite a few LUTs in
preproduction that emulated different
film stocks, and both Lily and I liked
how this Fuji LUT rendered skin tones,
how the colors popped, and how it
handled the blues and the warms of the
desert," says Vincent.
On set, Vincent wanted the LUT
added directly out of camera, which 1st
AC Kevin Akers and digital-imaging
technician Zack Charney Cohen made
possible with a Fujifilm IS-Mini LUT
box attached directly to the camera with
a custom-made power cable.
During production, Charney

Top: Arlen steels herself for battle after her arm and leg are amputated and eaten by cannibals.
Bottom: Waterhouse, Momoa, Amirpour (wearing cap and holding director's monitor) and crew
capture a scene.

Cohen set up his rig in the back of a
trailer and decked it out with curtains to
provide an appropriately dark workspace. As footage came in, Charney
Cohen would make slight adjustments
to Vincent's LUT and then bake this
grade into transcodes for editorial and
web dailies. A set of ProRes dailies was
www.theasc.com

also placed on an iPad for Amirpour and
Vincent to review each night.
"The 3D LUTs would get me 85
percent of the way there - and then I
would correct, sweeten, and really add a
polish that is rarely achieved on set in
other workflows," says Charney Cohen,
who colored in Blackmagic Design's
July 2017

63


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
American Cinematographer - July 2017 - 61
American Cinematographer - July 2017 - 62
American Cinematographer - July 2017 - 63
American Cinematographer - July 2017 - 64
American Cinematographer - July 2017 - 65
American Cinematographer - July 2017 - 66
American Cinematographer - July 2017 - 67
American Cinematographer - July 2017 - 68
American Cinematographer - July 2017 - 69
American Cinematographer - July 2017 - 70
American Cinematographer - July 2017 - 71
American Cinematographer - July 2017 - 72
American Cinematographer - July 2017 - 73
American Cinematographer - July 2017 - 74
American Cinematographer - July 2017 - 75
American Cinematographer - July 2017 - 76
American Cinematographer - July 2017 - 77
American Cinematographer - July 2017 - 78
American Cinematographer - July 2017 - 79
American Cinematographer - July 2017 - 80
American Cinematographer - July 2017 - 81
American Cinematographer - July 2017 - 82
American Cinematographer - July 2017 - 83
American Cinematographer - July 2017 - 84
American Cinematographer - July 2017 - 85
American Cinematographer - July 2017 - 86
American Cinematographer - July 2017 - 87
American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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