American Cinematographer - December 2017 - 61
'We should be focusing on that guy over
there, except it's way too bright on the
other side of the frame and my eyes are
being drawn over to that tree instead, so
let's fix that.' These artists are all so great
at what they do."
Scott explains, "Our initial focus
was the 2D SDR version using
Autodesk's new
[Lustre/Flame]
Connected Colour Workflow in
Disney's great theatrical environment. I
laid the foundation and set key
sequences with the production team,
which then served as the guide for our
team, including finishing artists Charles
Bunnag and Gray Marshall. We began
the final finishing in late August and
delivered in mid-October. From the 2D
SDR master grade, we derived the 3D
stereo conversion, HDR, Imax, and all
the home-video deliverables."
Dillon elaborates that the finishing employed "Lustre 2018.2 with an
HP Z840 [Workstation outfitted with
an] Nvidia P6000 GPU, and dual
ShotReactors [background cache
renderers]." He notes the additional
contributions of finishing artists Adam
Nazarenko and Dave Franks. "Finishing
was done in multiple theaters on the
Disney lot," Dillon adds, "which gave
the filmmakers the flexibility to participate in finishing and sound mix without
much interruption."
Pondering the conclusion of a
project largely crafted in postproduction, Aguirresarobe recalls taking great
satisfaction in seeing the final result.
"When you're constantly surrounded
with bluescreen, you end up a little
worried about how it's ultimately all
going to look," he says. "Once I started
seeing the final trailers, I was very
pleased to see the outcome is a very
imaginative and spectacular-looking
film."
Waititi agrees, noting that the
project's nearly yearlong postproduction
phase afforded plenty of time for reflection. "You sit for a long time with all
these bluescreen shots, and in your head
you're wanting it to look a certain way,"
he says. "You have to wait until all those
backgrounds, set extensions and CG
characters are finished. Once they start
coming in, you can finally refine what
you originally intended at the start of
the production, but you really need
those crucial key creative elements
within the frame right from the beginning."
Click here for exclusive lighting
diagrams and additional images.
●
TECHNICAL SPECS
2.39:1, 1.90:1 (Imax)
Digital Capture
Arri Alexa 65,
Vision Research Phantom Flex4K
Arri Prime 65, Vintage 765
61
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Table of Contents for the Digital Edition of American Cinematographer - December 2017
Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
American Cinematographer - December 2017 - 52
American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
American Cinematographer - December 2017 - 68
American Cinematographer - December 2017 - 69
American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
American Cinematographer - December 2017 - 75
American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
American Cinematographer - December 2017 - 79
American Cinematographer - December 2017 - 80
American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
American Cinematographer - December 2017 - 91
American Cinematographer - December 2017 - 92
American Cinematographer - December 2017 - 93
American Cinematographer - December 2017 - 94
American Cinematographer - December 2017 - 95
American Cinematographer - December 2017 - 96
American Cinematographer - December 2017 - 97
American Cinematographer - December 2017 - 98
American Cinematographer - December 2017 - 99
American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
American Cinematographer - December 2017 - 108
American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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