American Cinematographer - July 2017 - 73

sations we had over a period of time was
that we wanted to keep the palette very
specific. We decided that magenta has
no place in the show at all; the opposite
of magenta is green, but we did not want
the show to be green. As a colorist, my
challenge was to find that sweet spot.
"As you can imagine," Bajpai
continues, "it's challenging because
you're dealing with colors that can affect
the skin tones." Working on
FilmLight's Baselight grading system,
the colorist employed a process called
layer blending. "Layer blending allows
you to filter one layer through another
layer using an array of pixel-blending
algorithms," the colorist explains. "That
way, I can filter out magenta without
turning pictures overly green, and desaturate certain colors without actually
losing their amplitude. I can keep the
faces and skin tones looking very rich
and real while still working within that
[established] palette."
The color red, Herndl adds, is
reserved for a specific purpose in Genius:
as a visual representation of the Nazi
threat Einstein must face.
In addition to his excitement over
working with Howard and National
Geographic, the cinematographer felt a
particular connection to the subject
matter. "When you grow up in
Germany," he says, "the second World
War and the Holocaust are predominant in your thoughts, to say the least.
It's a very heavy part of your education,
something you're confronted with from
the time you're a child. It was fascinating
for me to be able to tell a story like this,
that I have such an emotional attachment to."
‚óŹ

TECHNICAL SPECS
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Digital Capture
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Vantage One T1,
Arri/Zeiss Master Prime
73


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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
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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
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American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
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American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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