American Cinematographer - January 2016 - 50

◗

Left for Dead
the] front end to grade dailies," says
Michael Dillon, senior producer at
Technicolor, "utilizing full DI color and
controls on a 2K projector, which was
set up in our Technicolor trailer near the
production office, [which was the case]
in both Calgary and Squamish. For the
back end, we used Frame Logic to
render out deliverables - DNxHD 36
and 175 for edit, H.264 for Pix, and
HDCam SR for studio marketing
requests. We also archived LTO backups. In addition, we set up a dailies
screening room for editorial and
creative in the production office. Chivo
would grade in the trailer in 2K and
then go to the screening room for
nightly screening sessions. [Dailies
engineer] Kenny Vicent helped support
[in the field]."
Iñárritu recounts that when
warm weather melted the snow, causing
the winter environment required for the
movie's climactic scene to disappear, his
team "scouted the world, chasing ice" in
places with topography resembling that
of the Alberta Rockies. The filmmakers
finally settled on Argentina. When
production resumed in South America,
the methodology was identical - as
was the grueling nature of the work. Yet
according to both Iñárritu and Lubezki,
the hardship and sacrifice has been
worth it to achieve "objective intimacy"
with their camera, as Lubezki puts it.
"There [was a] constant tension
between the objective and the subjective," the cinematographer explains.
"That made it very difficult for camera
operators and actors, and that is what
made it a dance. Sometimes, we were
very close to Leo because we were using
[extremely] wide lenses - [at times]
even the 24mm with the Alexa 65. We
got so close to him, inside minimum
focus, sometimes touching his cheek,
actually. That let us feel his breath and
perspiration, and get the subtlest movements of his eyes. Then we allowed him
to move away, and the camera watched
more from the objective 'audience' point
of view."
A prime example of segueing
between objective and subjective

Top: Glass vents
his rage. Middle:
The director and
cinematographer
flank DiCaprio.
Bottom: Lubezki
sets the camera
on location.

50

January 2016

American Cinematographer



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

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
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American Cinematographer - January 2016 - 9
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American Cinematographer - January 2016 - 50
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American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
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American Cinematographer - January 2016 - Cover3
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