American Cinematographer - October 2016 - 53

with it entirely. As Chediak relates, "We
were going to use greenscreen, but
when we came in the middle of
construction, Chris Seagers had already
put in the bridge ceilings, which were
very low and metallic - they reflected
everything. If we'd used greenscreen, it
would have been reflected on every
single metal surface and on the ceiling
of the bridge. That would have been
tremendously expensive to clean [with
visual effects]." Instead, the crew
surrounded the bridge with a painted
cyc that depicted water and Caribbean
clouds, which was lit with Arri M40s
on an overhead truss and Arri M90s
from the floor. "It was overexposed by
2.5 stops when it was daylight,"
Chediak says. "When it was night, we
just put black around [the set]. These
reflective surfaces are actually what
made these bridges visually interesting."
After the fire starts, the LED flames
were reflected in all those metal surfaces
as well.

All along, Chediak's goal was to
get "a nice, rich 'negative,' as we'd say in
the past. Following those guidelines, the
post was very simple, because everything was already there." After the
online edit on Autodesk Flame, the film
was graded on Blackmagic Design's
DaVinci Resolve at Company 3, first in
L.A., then in New York. It was colored
in EXR scene linear and mastered to
16-bit DPX files.
On the final grade, Chediak
worked with senior colorist and ASC
associate Stefan Sonnenfeld as well as
Stephen Nakamura. "To tell the truth, a
lot of the work was done during
production by testing and choosing the
right temperatures for practicals and the
right colors for the sets and costumes,"
says Chediak. "We did two [color
passes] in two weeks and everything
matched very nicely. Both Stefan and
Stephen helped me in working the
contrast and giving the movie some
spice.

"ILM did an incredible job," the
cinematographer adds. "They enhanced
some of the practical effects and created
a lot of the fire. They respected my
guidelines for color, especially the tones
we wanted for the fire. So thanks to
everybody's great work, the grading
ended up being very easy."
●

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, Alexa 65
Leica Summicron-C,
Summilux-C

53


http://thelight.com.es

Table of Contents for the Digital Edition of American Cinematographer - October 2016

Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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