American Cinematographer - July 2018 - 44

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Portrait of a Scoundrel
Young
operates the
camera
beneath the
gray skies of
the Mimban
battlefield,
created inside
Pinewood's
007 Stage.

Fuerteventura would still get over on
the Panagator, so we built a counterweight ring out of buck-scaffolding,
with three people as spotters to
completely brace it."
***
As Solo entered the final stages
of postproduction, Young worked with

44

colorist Joe Gawler at Skywalker
Ranch in Marin County, in Northern
California, to complete the grade
using Blackmagic Design DaVinci
Resolve 14. "Bradford and I graded in
4K on a Christie digital projector,"
Gawler explains, "and we had a Sony
[BVM-X300] monitor as a reference
when we wanted to see how high
dynamic range or Rec 709 would

translate with our grade.
"Bradford and I have a long
history together, going back to films like
Pariah [AC April '11], and there's a
major level of trust and shared aesthetic
between us," Gawler continues. "He
likes to do a pass and then leave me
alone for a while so when he returns, he
has a fresh set of eyes."
Young adds, "We do a lot of hard
work on set to make the image sing, and
I don't like being in a dark room for
weeks trying to undo that and make it
into something it will never be. I try to
be hands-on and prepared from the
beginning so that these things are
vetted before we even go into photography. I've learned that transparency is the
best tool, letting everybody have an
opportunity to see what it's going to
look like on set. Then, once we're in the
DI, we're just staying consistent with
the plan we made in preproduction."
"We designed a slightly dirty,
almost skip-bleach style for Solo, with


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Table of Contents for the Digital Edition of American Cinematographer - July 2018

Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
American Cinematographer - July 2018 - 2
American Cinematographer - July 2018 - Contents
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