American Cinematographer - September 2017 - 50
◗
Sacred and Profane
Director Floria
Sigismondi and
Tiernan discuss a
scene at the
Kentucky
mansion
where Easter's
party takes
place.
contrast so they can focus, and that's
fine.
Morton: It's great having the
ability to tweak, but I'm a big fan of
using LUTs almost like a film stock and
saving the grading for the colorist and
the post house - or I'll grade stills late
at the end of the day. I didn't create
different CDLs each day; I tried to set a
look with the lighting and lens choices
rather than relying on the day-to-day
50
grading, knowing that it would be taken
a lot further in the post process. And I
really like [the final grade]. It's unique.
It has a really strong, bold look.
Tiernan: [Colorist]
Dave
Hussey really did exceptional work to
tie the entire season together. It's a really
aggressive grade, and at times it feels
like it was shot on film. I knew the
grade was going to end up here, because
I'd sat at a computer with David Slade,
and we took a still that we had taken on
the set, and we went through what the
parameters would be: where the curve
was going to be, how much contrast and
sharpness was involved. Once I knew
that was going to be the final graded
look - before Dave Hussey became
involved and brought what he did to the
table - we had a rough idea of where we
were going. I knew that if I lit with hard
light, the image would fall apart later on.
So the key light was a soft, direct, single
source strategically placed to give you the
best image.
Willems: David Slade kept it all
glued together visually. He knows a lot
about color, he loves photography, and
he loves grading. He took the show and
finished it over at Company 3 with
colorist Dave Hussey. That's what TV
is about: You need one visual mind that
keeps it all looking the same.
Tiernan: You have to give credit
to the studio. They were incredibly
supportive in terms of expressing Neil
http://www.arri.com/skypanel
http://www.maccam.tv
Table of Contents for the Digital Edition of American Cinematographer - September 2017
Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
American Cinematographer - September 2017 - 5
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American Cinematographer - September 2017 - 7
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American Cinematographer - September 2017 - 50
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American Cinematographer - September 2017 - Cover3
American Cinematographer - September 2017 - Cover4
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