American Cinematographer - September 2017 - 79
to introduce different [aspects] of color."
Various other features of the SkyPanels
were also used, including the paparazzi
strobe effect, all controlled via DMX
from a lighting desk operated by
Brookes.
Watters discussed lookup tables
with Grattarola, and concluded that the
high-contrast look of the show wouldn't
be helpful as a general monitoring LUT.
"You can't say that this LUT is good for
[both] exteriors and interiors," Watters
says, "so we basically made 5-, 10-, 15-,
20- and 30-percent of that grade. For
some interiors, I just use the classic
Alexa look. We call them PB5, PB10,
PB15, PB20 and PB30. Every morning
we'd say it's a PB5 shot, and if it's a day
exterior I might go to a PB15." While
digital-imaging technician Doug
Garside has produced iPad-viewable
previews, time hasn't generally allowed
Watters to do much on-set grading. "It
was very naive of me to think I should
have been able to do it on this show.
[Garside is] grading the rushes and
bringing them in to the iPad on set. I've
been in his van six times."
Grattarola has so far addressed
"probably five minutes of selects from
the initial week's shoot," the colorist says,
"You could say that the cinematographers on the series each have their own
thread - or interpretation - in method
and vision, and that gets woven into the
fabric of Peaky. You don't want to intrinsically change what people have been
drawn to, but at the same time it needs
to grow. You want to do this artistically,
and keep pushing yourself. It's a bit of an
exploration process, which is healthy.
You're driven by the narrative and that
emotional response - really thinking
about how you should be feeling at any
point in the story. Tim [Mielants] was
always asking us, 'How do we feel?'"
"I think Peaky Blinders managed
to have period drama shot in quite a very
modern way," Watters concludes. "I'm
talking about Season 1 - very stylized,
very deliberate. It doesn't take you out of
the idea that you're in the 1920s. To do
that on the first season, to create a
context where you could do anything in
a period drama, is brilliant. It's very freeing in that you don't think it's Pride and
Prejudice, very solid and rigid. We have a
mantra: 'Is that Peaky? Are we in the
Peakys' world?' For a show to have its
own particular look is testament to the
previous cinematographers."
●
TECHNICAL SPECS
1.78:1
Digital Capture
Arri Alexa Plus, Mini
Zeiss Super Speed, Standard
Speed; Angenieux Optimo;
Arri/Fujinon Alura
79
http://dmglumiere.com
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
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