American Cinematographer - July 2018 - 59

transcode, which becomes the offline
editorial deliverable.
Encore colorist Tony D'Amore,
who also graded Fargo for Gonzales,
performs the final color grade by going
back to the 4K camera original and
building his own LUT with Blackmagic
Design DaVinci Resolve. "I created my
own custom LUTs to closely match
what Dana and Polly saw, but with a
wider color gamut than the Rec 709
SDR LUT they used on set, because
we're finishing the show in HDR," he
explains.
To ensure that the production's
footage was future-proofed for 4K
HDR viewing, Gonzales was compelled
to alter his technique for maintaining
exposure on set. "You don't want to
shoot full range," he advises. "Crush
your highlights, because when you add
the HDR color space onto the digital
negative, it takes your highlights up
another 10 to 20 IRE."
Posting in HDR comes with its

own unique challenges - and being a
relatively new way to view a moving
image, it can trick the untrained eye into
perceiving a sense of exposure latitude
that might be difficult to match in
SDR. Says D'Amore, "It's easier and
more reliable to color the SDR first,
knowing that you will only gain latitude
in the HDR color space. I look at both
HDR and SDR as I work to ensure that
the look will hold up throughout the
process. The key is to be mindful that
you're not ignoring one for the sake of
the other."
The characters in Legion are
constantly examining their past and
comparing it with the present in order
to find answers for the future. It's not
often that a television series spends so
much time in its own head, but that's
another quality that sets the show apart.
As for Gonzales, his experience with
Legion has certainly influenced the way
he thinks about his other projects.
"Photographing Legion has let me flex

my muscles with camera movement and
active lighting, giving me an important
new commodity in my toolbox," he says.
"To be given the opportunity to
be as imaginative as possible, to be
trusted, and to collaborate with so many
talented artists was a phenomenal experience," says Morgan. "Working on this
show has really expanded my vision of
what I can achieve."
●

TECHNICAL SPECS
1.78:1, 2.39:1, 2:1
Digital Capture
Arri Alexa Mini, Red Epic Dragon,
Zenmuse X7
Arri/Zeiss, Canon,
Bausch & Lomb, Kowa, Kinoptik,
Zeiss, Petzval, Clairmont,
Optex Excellence, Vantage Hawk,
Todd-AO, Optica Elite,
Fujifilm/Fujinon

59



http://www.kinoflo.com

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
American Cinematographer - July 2018 - 4
American Cinematographer - July 2018 - 5
American Cinematographer - July 2018 - 6
American Cinematographer - July 2018 - 7
American Cinematographer - July 2018 - 8
American Cinematographer - July 2018 - 9
American Cinematographer - July 2018 - 10
American Cinematographer - July 2018 - 11
American Cinematographer - July 2018 - 12
American Cinematographer - July 2018 - 13
American Cinematographer - July 2018 - 14
American Cinematographer - July 2018 - 15
American Cinematographer - July 2018 - 16
American Cinematographer - July 2018 - 17
American Cinematographer - July 2018 - 18
American Cinematographer - July 2018 - 19
American Cinematographer - July 2018 - 20
American Cinematographer - July 2018 - 21
American Cinematographer - July 2018 - 22
American Cinematographer - July 2018 - 23
American Cinematographer - July 2018 - 24
American Cinematographer - July 2018 - 25
American Cinematographer - July 2018 - 26
American Cinematographer - July 2018 - 27
American Cinematographer - July 2018 - 28
American Cinematographer - July 2018 - 29
American Cinematographer - July 2018 - 30
American Cinematographer - July 2018 - 31
American Cinematographer - July 2018 - 32
American Cinematographer - July 2018 - 33
American Cinematographer - July 2018 - 34
American Cinematographer - July 2018 - 35
American Cinematographer - July 2018 - 36
American Cinematographer - July 2018 - 37
American Cinematographer - July 2018 - 38
American Cinematographer - July 2018 - 39
American Cinematographer - July 2018 - 40
American Cinematographer - July 2018 - 41
American Cinematographer - July 2018 - 42
American Cinematographer - July 2018 - 43
American Cinematographer - July 2018 - 44
American Cinematographer - July 2018 - 45
American Cinematographer - July 2018 - 46
American Cinematographer - July 2018 - 47
American Cinematographer - July 2018 - 48
American Cinematographer - July 2018 - 49
American Cinematographer - July 2018 - 50
American Cinematographer - July 2018 - 51
American Cinematographer - July 2018 - 52
American Cinematographer - July 2018 - 53
American Cinematographer - July 2018 - 54
American Cinematographer - July 2018 - 55
American Cinematographer - July 2018 - 56
American Cinematographer - July 2018 - 57
American Cinematographer - July 2018 - 58
American Cinematographer - July 2018 - 59
American Cinematographer - July 2018 - 60
American Cinematographer - July 2018 - 61
American Cinematographer - July 2018 - 62
American Cinematographer - July 2018 - 63
American Cinematographer - July 2018 - 64
American Cinematographer - July 2018 - 65
American Cinematographer - July 2018 - 66
American Cinematographer - July 2018 - 67
American Cinematographer - July 2018 - 68
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American Cinematographer - July 2018 - 70
American Cinematographer - July 2018 - 71
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American Cinematographer - July 2018 - 73
American Cinematographer - July 2018 - 74
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American Cinematographer - July 2018 - 76
American Cinematographer - July 2018 - 77
American Cinematographer - July 2018 - 78
American Cinematographer - July 2018 - 79
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American Cinematographer - July 2018 - 84
American Cinematographer - July 2018 - 85
American Cinematographer - July 2018 - 86
American Cinematographer - July 2018 - 87
American Cinematographer - July 2018 - 88
American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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