American Cinematographer - November 2015 - 18
Final frame grabs from scenes inside the airport, paired with their greenscreen beginnings.
18
November 2015
American Cinematographer
The final confrontation between
Stiles and Vachon is set in a restaurant
kitchen, where Cardino worked with tungsten fixtures and Kino Flos, including
"5,600K 2-by-2 and 4-by-4 Kinos, an assortment of practical tungsten bulbs on handdimmers, and there were some 150-watt
Dedo lights for downward spots or accentedge lights as well," he says.
"A lot of kitchens have overhead
fluorescents," the cinematographer continues, "and then you have heat lamps that are
generally very warm - 2,700 to 2,900K -
so I was looking to work within those parameters to give [the scene] a realistic feel.
Another factor is that Kino Flos come in
handy in tight quarters. We were in a
kitchen that had limited space, and [working
with Kino Flos] really helped us achieve the
look we wanted within [those confines]."
During prep, Cardino created an incamera LUT that he and his digital-imaging
technician, C.J. Brion, used - along with
Redcine-X - to create dailies. The final digital grade took place at Company 3 with
colorist Tim Masick, using DaVinci Resolve.
"The grade was done in native resolution
and output to 2K for DCP and 1080 for Rec
709 deliverables," Cardino says.
"I try to shoot everything as close as
possible to how I want it to look in the end
so there aren't a lot of surprises in the final
grade," says Cardino. "I still try to approach
digital shooting like film shooting, because
that's how I started. You learn a lot of discipline when you shoot film, and I try to carry
that over."
The main goal for the team was to
make sure the visual effects would not
distract the audience from the story, and
Cardino was very pleased with the end
results. "People have come up to me after
screenings and said, 'I can't believe you went
to Charles de Gaulle Airport,'" the cinematographer says. "It's been awesome to
hear people say that. It was so important for
the film to feel photorealistic, because we
wanted a natural and realistic approach
from the get-go."
Best Man Wins had its world
premiere at the 2015 Tribeca Film Festival
and has also screened at festivals in Seattle,
Palm Springs and Rhode Island, and at
London's Raindance.
●
Table of Contents for the Digital Edition of American Cinematographer - November 2015
Contents
American Cinematographer - November 2015 - Cover1
American Cinematographer - November 2015 - Cover2
American Cinematographer - November 2015 - 1
American Cinematographer - November 2015 - 2
American Cinematographer - November 2015 - Contents
American Cinematographer - November 2015 - 4
American Cinematographer - November 2015 - 5
American Cinematographer - November 2015 - 6
American Cinematographer - November 2015 - 7
American Cinematographer - November 2015 - 8
American Cinematographer - November 2015 - 9
American Cinematographer - November 2015 - 10
American Cinematographer - November 2015 - 11
American Cinematographer - November 2015 - 12
American Cinematographer - November 2015 - 13
American Cinematographer - November 2015 - 14
American Cinematographer - November 2015 - 15
American Cinematographer - November 2015 - 16
American Cinematographer - November 2015 - 17
American Cinematographer - November 2015 - 18
American Cinematographer - November 2015 - 19
American Cinematographer - November 2015 - 20
American Cinematographer - November 2015 - 21
American Cinematographer - November 2015 - 22
American Cinematographer - November 2015 - 23
American Cinematographer - November 2015 - 24
American Cinematographer - November 2015 - 25
American Cinematographer - November 2015 - 26
American Cinematographer - November 2015 - 27
American Cinematographer - November 2015 - 28
American Cinematographer - November 2015 - 29
American Cinematographer - November 2015 - 30
American Cinematographer - November 2015 - 31
American Cinematographer - November 2015 - 32
American Cinematographer - November 2015 - 33
American Cinematographer - November 2015 - 34
American Cinematographer - November 2015 - 35
American Cinematographer - November 2015 - 36
American Cinematographer - November 2015 - 37
American Cinematographer - November 2015 - 38
American Cinematographer - November 2015 - 39
American Cinematographer - November 2015 - 40
American Cinematographer - November 2015 - 41
American Cinematographer - November 2015 - 42
American Cinematographer - November 2015 - 43
American Cinematographer - November 2015 - 44
American Cinematographer - November 2015 - 45
American Cinematographer - November 2015 - 46
American Cinematographer - November 2015 - 47
American Cinematographer - November 2015 - 48
American Cinematographer - November 2015 - 49
American Cinematographer - November 2015 - 50
American Cinematographer - November 2015 - 51
American Cinematographer - November 2015 - 52
American Cinematographer - November 2015 - 53
American Cinematographer - November 2015 - 54
American Cinematographer - November 2015 - 55
American Cinematographer - November 2015 - 56
American Cinematographer - November 2015 - 57
American Cinematographer - November 2015 - 58
American Cinematographer - November 2015 - 59
American Cinematographer - November 2015 - 60
American Cinematographer - November 2015 - 61
American Cinematographer - November 2015 - 62
American Cinematographer - November 2015 - 63
American Cinematographer - November 2015 - 64
American Cinematographer - November 2015 - 65
American Cinematographer - November 2015 - 66
American Cinematographer - November 2015 - 67
American Cinematographer - November 2015 - 68
American Cinematographer - November 2015 - 69
American Cinematographer - November 2015 - 70
American Cinematographer - November 2015 - 71
American Cinematographer - November 2015 - 72
American Cinematographer - November 2015 - 73
American Cinematographer - November 2015 - 74
American Cinematographer - November 2015 - 75
American Cinematographer - November 2015 - 76
American Cinematographer - November 2015 - 77
American Cinematographer - November 2015 - 78
American Cinematographer - November 2015 - 79
American Cinematographer - November 2015 - 80
American Cinematographer - November 2015 - 81
American Cinematographer - November 2015 - 82
American Cinematographer - November 2015 - 83
American Cinematographer - November 2015 - 84
American Cinematographer - November 2015 - 85
American Cinematographer - November 2015 - 86
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American Cinematographer - November 2015 - 91
American Cinematographer - November 2015 - 92
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American Cinematographer - November 2015 - 95
American Cinematographer - November 2015 - 96
American Cinematographer - November 2015 - Cover3
American Cinematographer - November 2015 - Cover4
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