American Cinematographer - August 2017 - 41

forgoing digital scanning and recording.
Multiple exhibition versions of the
movie were output from two separate
film masters - 15-perf 65mm Imax
and 5-perf 65mm. ASC associate
member Dan Muscarella performed
final
color
timing
on
the
film negative in both formats on a
custom 65mm Colormaster color
analyzer. (See expanded coverage of
FotoKem's and Imax Post/DKP Inc.'s
postproduction
workflows
at
ascmag.com.)
Only Dunkirk's limited number
of visual-effects shots - created by
Vancouver's Double Negative - were
touched by a computer. But even there,
the filmmakers' analog processing preferences mandated that upon completion, the images were scanned and
filmed out for inclusion in reels. "Our
original negative is always the color
guidance for the visual-effects shots,"
van Hoytema says. "When we get our
output from DNeg, we end up with a

raw negative that has our [analog photochemical] color correction all over it."
It is the hope of both director and
cinematographer that one of Dunkirk's
contributions will be to illustrate to the
industry that this kind of filmmaking is
possible, and continues to be an innovative process. "I certainly feel a sense of
excitement around photochemical
prints that I have not felt in years,"
Nolan says. "I was in London recently
and saw various cinemas that had
'35mm' advertised on the marquee as a
selling point. I think there is an
increased interest from younger audiences. For them, it's a newer experience
to get that emotional connection from
the material with these superior prints."

TECHNICAL SPECS
2.20:1 (5-perf 70mm),
1.43:1 (Imax),
2.39:1 (standard DCP)
15-perf 65mm Imax, 5-perf 65mm
Kodak Vision3 250D 5207,
200T 5203, 500T 5219
Imax MSM 9802, MKIV; Panavision
Panaflex System 65 Studio 65SPFX,
HR Spinning Mirror Reflex 65HSSM
Panavision Sphero 65; Imax 80mm,
50mm; Panavision Imax Periscope
Printed on Kodak Vision 2383

For additional Dunkirk coverage,
visit ascmag.com.
‚óŹ

41


http://www.ascmag.com http://www.ascmag.com http://www.kinoflo.com

Table of Contents for the Digital Edition of American Cinematographer - August 2017

Contents
American Cinematographer - August 2017 - Intro
American Cinematographer - August 2017 - Cover1
American Cinematographer - August 2017 - Cover2
American Cinematographer - August 2017 - 1
American Cinematographer - August 2017 - 2
American Cinematographer - August 2017 - Contents
American Cinematographer - August 2017 - 4
American Cinematographer - August 2017 - 5
American Cinematographer - August 2017 - 6
American Cinematographer - August 2017 - 7
American Cinematographer - August 2017 - 8
American Cinematographer - August 2017 - 9
American Cinematographer - August 2017 - 10
American Cinematographer - August 2017 - 11
American Cinematographer - August 2017 - 12
American Cinematographer - August 2017 - 13
American Cinematographer - August 2017 - 14
American Cinematographer - August 2017 - 15
American Cinematographer - August 2017 - 16
American Cinematographer - August 2017 - 17
American Cinematographer - August 2017 - 18
American Cinematographer - August 2017 - 19
American Cinematographer - August 2017 - 20
American Cinematographer - August 2017 - 21
American Cinematographer - August 2017 - 22
American Cinematographer - August 2017 - 23
American Cinematographer - August 2017 - 24
American Cinematographer - August 2017 - 25
American Cinematographer - August 2017 - 26
American Cinematographer - August 2017 - 27
American Cinematographer - August 2017 - 28
American Cinematographer - August 2017 - 29
American Cinematographer - August 2017 - 30
American Cinematographer - August 2017 - 31
American Cinematographer - August 2017 - 32
American Cinematographer - August 2017 - 32a
American Cinematographer - August 2017 - 32b
American Cinematographer - August 2017 - 32c
American Cinematographer - August 2017 - 32d
American Cinematographer - August 2017 - 33
American Cinematographer - August 2017 - 34
American Cinematographer - August 2017 - 35
American Cinematographer - August 2017 - 36
American Cinematographer - August 2017 - 37
American Cinematographer - August 2017 - 38
American Cinematographer - August 2017 - 39
American Cinematographer - August 2017 - 40
American Cinematographer - August 2017 - 41
American Cinematographer - August 2017 - 42
American Cinematographer - August 2017 - 43
American Cinematographer - August 2017 - 44
American Cinematographer - August 2017 - 45
American Cinematographer - August 2017 - 46
American Cinematographer - August 2017 - 47
American Cinematographer - August 2017 - 48
American Cinematographer - August 2017 - 49
American Cinematographer - August 2017 - 50
American Cinematographer - August 2017 - 51
American Cinematographer - August 2017 - 52
American Cinematographer - August 2017 - 53
American Cinematographer - August 2017 - 54
American Cinematographer - August 2017 - 55
American Cinematographer - August 2017 - 56
American Cinematographer - August 2017 - 57
American Cinematographer - August 2017 - 58
American Cinematographer - August 2017 - 59
American Cinematographer - August 2017 - 60
American Cinematographer - August 2017 - 61
American Cinematographer - August 2017 - 62
American Cinematographer - August 2017 - 63
American Cinematographer - August 2017 - 64
American Cinematographer - August 2017 - 65
American Cinematographer - August 2017 - 66
American Cinematographer - August 2017 - 67
American Cinematographer - August 2017 - 68
American Cinematographer - August 2017 - 69
American Cinematographer - August 2017 - 70
American Cinematographer - August 2017 - 71
American Cinematographer - August 2017 - 72
American Cinematographer - August 2017 - 73
American Cinematographer - August 2017 - 74
American Cinematographer - August 2017 - 75
American Cinematographer - August 2017 - 76
American Cinematographer - August 2017 - 77
American Cinematographer - August 2017 - 78
American Cinematographer - August 2017 - 79
American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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