American Cinematographer - August 2013 - 75

Frame grabs courtesy of CBS Broadcasting Inc. Bottom photo on this page courtesy of Jon Silberg.

bay and check material.”
The high-speed data pipeline to L.A.
also gives Fey high-quality HD files for colortiming purposes, and he uses a Blackmagic
HyperDeck Shuttle. “It can play an Apple
ProRes 10-bit file, so I can view it on my colorcritical monitor on set in order to do grading
before our final color, which is done at Level
3,” he reports.
Fey, whose credits include seasons of
Lost and CSI: Crime Scene Investigation,
notes that he has never had near-set colorcorrection capability before. “We explored
having a colorist and mobile coloring workstation with us on the camera truck, and
generating our dailies that way, but we ultimately decided our schedule wouldn’t
accommodate the additional work,” he says.
“The on-set colorist would have had to be on
our production schedule rather than his own
schedule, and having him come in at our call
and wrap times would have meant a slower
turnaround for the dailies. Having near-set
dailies gives us the best of both worlds: we
have a professional color-correction bay that
is properly calibrated, and it’s close enough
that I can go over and check on things.”
For Fleet, the setup has opened up “a
whole new level of communication with the
director of photography. Cort can also receive
a 10-bit QuickTime from final color, and with
the help of Mark Gilmer, the on-set digitalimaging technician, he can review it on his
monitor and give his color notes while all of
the material is going back and forth through
our Mobilab pipeline.” The visual-effects
team can also stay in close touch with the
colorist. “Everything lives on one server that
everyone can access very easily,” says Fleet.
As for keeping the whole process
under one roof, so to speak, “I think it has
really improved all the communication involving me, the visual-effects team and the
colorists,” says Fey. “By the time our footage
reaches our final colorist, Ken Van Deest, and
his DaVinci Resolve v9, he has seen the intention in the dailies and can then take the
image to that final perfect place.”
Summing up, Fey says the entire
process “feels very natural, partly because it
keeps the dailies color under my umbrella.
The dailies colorist is not 2,000 miles away, he
is nearby, in my world, and that’s a big advantage for a cinematographer on a complex
●
show like this.”

Top and middle: The citizens of Chester’s Mill find themselves cut off from the outside world
by the large barrier. Bottom: Encore Executive Creative Director Stephan Fleet (left) confers
with cinematographer Cort Fey, ASC on set.

www.theasc.com

August 2013

75


http://www.theasc.com

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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