American Cinematographer - November 2017 - 49

crew referred to the specialized telephoto
as "Walker's Wonder."
The Alexa 65 footage, which
comprised approximately half of the
shoot, was captured at 6560x3100 in
Open Gate mode to 2TB Codex SXR
Capture Drives; the Alexa SXT captured
2880x2160 to 512GB Codex XR Capture
Drives; and the Alexa Mini captured a
resolution of 2880x2160 to 256GB CFast
2.0 memory cards.
All cameras recorded ArriRaw in
Arri Wide Gamut/Log C color space.
Thus, reports EFilm vice president of
technology and ASC associate Joachim
Zell, "color and contrast matching was not
an issue" for either dailies or the final grade
in terms of employing footage derived
from the different camera types. Zell
further notes that with the filmmakers'
immediate access to the uncompressed
footage - along with "the best possible
sizing algorithm" - dailies colorist Ben
Estrada and Walker were able "to see a
DI-like image right then and there."
Zell adds, "The final grade was
performed by EFilm's DI colorist Natasha
Leonnet on an Autodesk Flame Premium
Lustre at our EFilm theater located on the
Fox studio lot. The working resolution
was 2460x1040, and the final deliverables
are a 2K DCP, an HD Rec 709 and an
HD HDR."
The production spent its first three
weeks not on the mountain, but on a stage
at Vancouver-adjacent Mammoth
Studios, tackling the movie's most difficult
scene right off the bat. It's a single, continuously moving, four-and-a-half-minute
shot inside the small aircraft, which begins
with Alex and Ben chatting and admiring
the view out the windows, then sees the
pilot (Beau Bridges) suffering a stroke,
and the craft taking a nosedive. AbuAssad credits production designer Patrice
Vermette with suggesting that the scene
unfold in one continuous shot. "It was a
brilliant idea because it makes the audience part of the journey. They are trapped
inside that airplane with the characters."
The plane sat on a gimbal, some 15'
off the stage floor. Its roof was removed -
to be painted back in post - and replaced
with an I-beam skate rig designed by

Top: Ben assesses the crash site. Middle and bottom: The crew shoots on location in the Purcell
Mountains in British Columbia.

www.ascmag.com

November 2017

49



http://www.ascmag.com

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

Contents
American Cinematographer - November 2017 - Cover1
American Cinematographer - November 2017 - Cover2
American Cinematographer - November 2017 - 1
American Cinematographer - November 2017 - 2
American Cinematographer - November 2017 - Contents
American Cinematographer - November 2017 - 4
American Cinematographer - November 2017 - 5
American Cinematographer - November 2017 - 6
American Cinematographer - November 2017 - 7
American Cinematographer - November 2017 - 8
American Cinematographer - November 2017 - 9
American Cinematographer - November 2017 - 10
American Cinematographer - November 2017 - 11
American Cinematographer - November 2017 - 12
American Cinematographer - November 2017 - 13
American Cinematographer - November 2017 - 14
American Cinematographer - November 2017 - 15
American Cinematographer - November 2017 - 16
American Cinematographer - November 2017 - 17
American Cinematographer - November 2017 - 18
American Cinematographer - November 2017 - 19
American Cinematographer - November 2017 - 20
American Cinematographer - November 2017 - 21
American Cinematographer - November 2017 - 22
American Cinematographer - November 2017 - 23
American Cinematographer - November 2017 - 24
American Cinematographer - November 2017 - 25
American Cinematographer - November 2017 - 26
American Cinematographer - November 2017 - 27
American Cinematographer - November 2017 - 28
American Cinematographer - November 2017 - 29
American Cinematographer - November 2017 - 30
American Cinematographer - November 2017 - 31
American Cinematographer - November 2017 - 32
American Cinematographer - November 2017 - 33
American Cinematographer - November 2017 - 34
American Cinematographer - November 2017 - 35
American Cinematographer - November 2017 - 36
American Cinematographer - November 2017 - 37
American Cinematographer - November 2017 - 38
American Cinematographer - November 2017 - 39
American Cinematographer - November 2017 - 40
American Cinematographer - November 2017 - 41
American Cinematographer - November 2017 - 42
American Cinematographer - November 2017 - 43
American Cinematographer - November 2017 - 44
American Cinematographer - November 2017 - 45
American Cinematographer - November 2017 - 46
American Cinematographer - November 2017 - 47
American Cinematographer - November 2017 - 48
American Cinematographer - November 2017 - 48a
American Cinematographer - November 2017 - 48b
American Cinematographer - November 2017 - 49
American Cinematographer - November 2017 - 50
American Cinematographer - November 2017 - 51
American Cinematographer - November 2017 - 52
American Cinematographer - November 2017 - 53
American Cinematographer - November 2017 - 54
American Cinematographer - November 2017 - 55
American Cinematographer - November 2017 - 56
American Cinematographer - November 2017 - 57
American Cinematographer - November 2017 - 58
American Cinematographer - November 2017 - 59
American Cinematographer - November 2017 - 60
American Cinematographer - November 2017 - 61
American Cinematographer - November 2017 - 62
American Cinematographer - November 2017 - 63
American Cinematographer - November 2017 - 64
American Cinematographer - November 2017 - 65
American Cinematographer - November 2017 - 66
American Cinematographer - November 2017 - 67
American Cinematographer - November 2017 - 68
American Cinematographer - November 2017 - 69
American Cinematographer - November 2017 - 70
American Cinematographer - November 2017 - 71
American Cinematographer - November 2017 - 72
American Cinematographer - November 2017 - 73
American Cinematographer - November 2017 - 74
American Cinematographer - November 2017 - 75
American Cinematographer - November 2017 - 76
American Cinematographer - November 2017 - 77
American Cinematographer - November 2017 - 78
American Cinematographer - November 2017 - 79
American Cinematographer - November 2017 - 80
American Cinematographer - November 2017 - 81
American Cinematographer - November 2017 - 82
American Cinematographer - November 2017 - 83
American Cinematographer - November 2017 - 84
American Cinematographer - November 2017 - 85
American Cinematographer - November 2017 - 86
American Cinematographer - November 2017 - 87
American Cinematographer - November 2017 - 88
American Cinematographer - November 2017 - Cover3
American Cinematographer - November 2017 - Cover4
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