American Cinematographer - August 2014 - 29

Unit photography by D. Stevens, courtesy of Universal Studios. Additional photos by James Shelton, courtesy of Stephen Goldblatt.

feature's sub-$30 million budget, he
adds, "Achieving our cinematic ambitions with absolutely no financial leeway
made this one of the most challenging
- and ultimately satisfying - projects
of my career."
After shooting a few commercials
digitally, Goldblatt became a fan of the
Arri Alexa. Singling out how well the
camera handles skin tones, he says he
decided to stick with the camera for Get
on Up, his first digital feature. Working
as he long has with ASC associate and
Panavision vice president of worldwide
marketing Phil Radin (who has since
retired), Goldblatt selected the standard
Alexa with a 16x9 sensor and a highspeed license as his A, B and C cameras.
The movie's most dazzling
sequences showcase Brown performing
during various concerts, including his
legendary 1962 "Live at the Apollo"
performance at Harlem's Apollo
Theater and a 1971 show at Olympia
Hall in Paris. Goldblatt knew he would
need more than three cameras to
capture the concerts, but budgetary
constraints limited his options. During
preproduction, he tested Canon's 4K

Opposite and this
page, top:
Chadwick
Boseman steps
into the iconic role
of James Brown in
Get on Up.
Bottom: Stephen
Goldblatt, ASC,
BSC finds a frame.

EOS-1D C DSLR and Cinema EOS
C500, and then opted to employ the
latter to expand his camera arsenal. "It
looked great," he enthuses. "Here was a
camera that by no means has the same
specs as the Alexa, but by doing little
tricks you could make it look as if it was
an Alexa." Those "little tricks" included
applying a customized LUT that
Technicolor's Color Science team
created to match the looks of the
disparate cameras. (Both the Alexas'
www.theasc.com

ArriRaw files and the C500s' Canon
Raw files were recorded to Convergent
Design Gemini 4:4:4 recorders.)
Brown's 1971 Paris concert was
re-created inside a 2,400-seat municipal
auditorium in Jackson (with the show's
visual-effects team adding a Paris
skyline for one shot). Andrew Giffin,
who specializes in lighting concert
tours, music festivals and theatrical
productions, was brought in to help
design the stage lighting. Goldblatt
August 2014

29



http://www.theasc.com

American Cinematographer - August 2014

Table of Contents for the Digital Edition of American Cinematographer - August 2014

Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
American Cinematographer - August 2014 - 7
American Cinematographer - August 2014 - 8
American Cinematographer - August 2014 - 9
American Cinematographer - August 2014 - 10
American Cinematographer - August 2014 - 11
American Cinematographer - August 2014 - 12
American Cinematographer - August 2014 - 13
American Cinematographer - August 2014 - 14
American Cinematographer - August 2014 - 15
American Cinematographer - August 2014 - 16
American Cinematographer - August 2014 - 17
American Cinematographer - August 2014 - 18
American Cinematographer - August 2014 - 19
American Cinematographer - August 2014 - 20
American Cinematographer - August 2014 - 21
American Cinematographer - August 2014 - 22
American Cinematographer - August 2014 - 23
American Cinematographer - August 2014 - 24
American Cinematographer - August 2014 - 25
American Cinematographer - August 2014 - 26
American Cinematographer - August 2014 - 27
American Cinematographer - August 2014 - 28
American Cinematographer - August 2014 - 29
American Cinematographer - August 2014 - 30
American Cinematographer - August 2014 - 31
American Cinematographer - August 2014 - 32
American Cinematographer - August 2014 - 33
American Cinematographer - August 2014 - 34
American Cinematographer - August 2014 - 35
American Cinematographer - August 2014 - 36
American Cinematographer - August 2014 - 37
American Cinematographer - August 2014 - 38
American Cinematographer - August 2014 - 39
American Cinematographer - August 2014 - 40
American Cinematographer - August 2014 - 41
American Cinematographer - August 2014 - 42
American Cinematographer - August 2014 - 43
American Cinematographer - August 2014 - 44
American Cinematographer - August 2014 - 45
American Cinematographer - August 2014 - 46
American Cinematographer - August 2014 - 47
American Cinematographer - August 2014 - 48
American Cinematographer - August 2014 - 49
American Cinematographer - August 2014 - 50
American Cinematographer - August 2014 - 51
American Cinematographer - August 2014 - 52
American Cinematographer - August 2014 - 53
American Cinematographer - August 2014 - 54
American Cinematographer - August 2014 - 55
American Cinematographer - August 2014 - 56
American Cinematographer - August 2014 - 57
American Cinematographer - August 2014 - 58
American Cinematographer - August 2014 - 59
American Cinematographer - August 2014 - 60
American Cinematographer - August 2014 - 61
American Cinematographer - August 2014 - 62
American Cinematographer - August 2014 - 63
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American Cinematographer - August 2014 - 84
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American Cinematographer - August 2014 - 88
American Cinematographer - August 2014 - Cover3
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