American Cinematographer - December 2015 - 34

Left: Alberti (far right) and crew set the lights for one of the movie's boxing rings. Right: For the final fight, the production shot on
a stage surrounded by greenscreen.

we had one camera on the Technocrane,
one camera on Steadicam, and two cameras
that were handheld."
Upon discussing all that went into
capturing these scenes, Alberti acknowledges "the great support of my gaffer, Eric
Boncher, as well as my key grip, Jon Sibert. I
also want to credit B-camera operator J.R.
Campbell - he did a great job."
Shot entirely in Philadelphia, Creed
begins in Mexico, transitions to Los Angeles,
then moves to Philadelphia, where much of
the story takes place. "We decided to play
[the scenes set in] Philadelphia as a little bit
cooler," Alberti says. The real challenge from
a color perspective, however, "was the
difference in skin tone between Sly and
Mike," she notes. "Not so much the density
as the color - Sly being more red and Mike
being more yellow."
Alberti adhered to the doctrine of
realism for her lighting as well. For the two
big fights, Boncher worked with Philadelphia-based lighting designer John Duncan
Jr. The rings in Creed looked more "HBO
than Raging Bull," Alberti notes, and were lit
from a truss circling the perimeter with 120
Par cans narrow-focused across the ring,
medium-focused in the middle, and widefocused up close, "which gave a very even
lighting all across the ring," the cinematographer says.
For the gyms, Alberti used a mixture
of HMIs, tungstens and Kino Flo fluorescent
tubes, opting to replace the existing fluores34

December 2015

cent fixtures. "If you stay with [the existing]
practicals, they tend to flicker a lot, so we
changed to movie tubes," she explains. "In
one very old gym, although we changed all
the ballasts, things were flickering on and
off and we realized that the electricity
coming into this old building was [surging],
so we had to reroute everything to our
generator." Alberti also added a bit of
smoke for atmosphere in the gym scenes,
and introduced different colors with her
fluorescents, including yellow and green.
For non-fighting scenes, Alberti had
a full range of Arri HMIs on hand - from
400-watt to 18K units. She also made use of
LiteGear LiteRibbons, which she hid around
the sets for subtle fill.
Creed's DI was performed at EFilm by
colorist Tim Stipan, with whom the cinematographer had previously worked on
several movies, including The Wrestler.
"Tim, who did a great job, worked on
DaVinci Resolve," Alberti says. The color
grade was performed in 2K for a 2K DCP
final deliverable.
Thanks to the dailies LUT that Alberti
designed with digital-imaging technician
Michael Kowalczyk, the main color work
was just a matter of improving upon the
dailies, along with some touch-up work to
Stallone's and Jordan's skin tones. "That's
where the Alexa is good; it has a lot of range
in terms of color," says Alberti. "But in the
world of digital, red is the color that is
going to [be picked] up first, so I try to be
American Cinematographer

aware of that."
In revitalizing the longstanding franchise, this latest installment introduces new
characters as well as new storytellers. "Ryan
really infused a new life into the Rocky
movies with a brand-new style of filmmaking," concludes Alberti. "Stallone was smart
to see the talent in this young director and
what he could bring to the film."

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, M
Cooke S4/i, Angenieux Optimo

‚óŹ

ERRATUM
In our coverage of Critical in the October
2015 issue, the bottom photo on page 30
shows 2nd-unit cinematographer Nic
Lawson behind the camera - not 1st-unit
director of photography Tim Palmer, BSC,
as indicated in the caption.



Table of Contents for the Digital Edition of American Cinematographer - December 2015

Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
American Cinematographer - December 2015 - 5
American Cinematographer - December 2015 - 6
American Cinematographer - December 2015 - 7
American Cinematographer - December 2015 - 8
American Cinematographer - December 2015 - 9
American Cinematographer - December 2015 - 10
American Cinematographer - December 2015 - 11
American Cinematographer - December 2015 - 12
American Cinematographer - December 2015 - 13
American Cinematographer - December 2015 - 14
American Cinematographer - December 2015 - 15
American Cinematographer - December 2015 - 16
American Cinematographer - December 2015 - 17
American Cinematographer - December 2015 - 18
American Cinematographer - December 2015 - 19
American Cinematographer - December 2015 - 20
American Cinematographer - December 2015 - 21
American Cinematographer - December 2015 - 22
American Cinematographer - December 2015 - 23
American Cinematographer - December 2015 - 24
American Cinematographer - December 2015 - 25
American Cinematographer - December 2015 - 26
American Cinematographer - December 2015 - 27
American Cinematographer - December 2015 - 28
American Cinematographer - December 2015 - 29
American Cinematographer - December 2015 - 30
American Cinematographer - December 2015 - 31
American Cinematographer - December 2015 - 32
American Cinematographer - December 2015 - 33
American Cinematographer - December 2015 - 34
American Cinematographer - December 2015 - 35
American Cinematographer - December 2015 - 36
American Cinematographer - December 2015 - 37
American Cinematographer - December 2015 - 38
American Cinematographer - December 2015 - 39
American Cinematographer - December 2015 - 40
American Cinematographer - December 2015 - 41
American Cinematographer - December 2015 - 42
American Cinematographer - December 2015 - 43
American Cinematographer - December 2015 - 44
American Cinematographer - December 2015 - 45
American Cinematographer - December 2015 - 46
American Cinematographer - December 2015 - 47
American Cinematographer - December 2015 - 48
American Cinematographer - December 2015 - 49
American Cinematographer - December 2015 - 50
American Cinematographer - December 2015 - 51
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American Cinematographer - December 2015 - 53
American Cinematographer - December 2015 - 54
American Cinematographer - December 2015 - 55
American Cinematographer - December 2015 - 56
American Cinematographer - December 2015 - 57
American Cinematographer - December 2015 - 58
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American Cinematographer - December 2015 - 60
American Cinematographer - December 2015 - 61
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American Cinematographer - December 2015 - 63
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American Cinematographer - December 2015 - 66
American Cinematographer - December 2015 - 67
American Cinematographer - December 2015 - 68
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American Cinematographer - December 2015 - 70
American Cinematographer - December 2015 - 71
American Cinematographer - December 2015 - 72
American Cinematographer - December 2015 - 73
American Cinematographer - December 2015 - 74
American Cinematographer - December 2015 - 75
American Cinematographer - December 2015 - 76
American Cinematographer - December 2015 - 77
American Cinematographer - December 2015 - 78
American Cinematographer - December 2015 - 79
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American Cinematographer - December 2015 - 81
American Cinematographer - December 2015 - 82
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American Cinematographer - December 2015 - 101
American Cinematographer - December 2015 - 102
American Cinematographer - December 2015 - 103
American Cinematographer - December 2015 - 104
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American Cinematographer - December 2015 - 108
American Cinematographer - December 2015 - 109
American Cinematographer - December 2015 - 110
American Cinematographer - December 2015 - 111
American Cinematographer - December 2015 - 112
American Cinematographer - December 2015 - Cover3
American Cinematographer - December 2015 - Cover4
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