American Cinematographer - January 2016 - 69

great - we didn't have to use a stunt
person and we could capture his
performance."
Well after principal photography wrapped, "there were a few days
of pickups that I just absolutely could
not do," Dod Mantle notes, "so it was
the most obvious thing to suggest
that Sal Totino [ASC, AIC] cover for
me, given that he's done so many
other pictures with Ron and works so
closely with him. They were quite
complicated scenes in terms of lighting, so he had a chance to review
what we'd done and he paid us the
biggest compliment by saying the line
between studio and location work was
absolutely seamless. That's perhaps
the biggest compliment one can get
from another cinematographer!"
Dod Mantle oversaw the digital
intermediate at Technicolor London
with Jean-Clément Soret, who
worked with FilmlLight Baselight for
a final 2K master. "The DI process

was a matter of putting color back
into the footage after the visualeffects work had been done," Dod
Mantle says, noting that visualeffects supervisor Jody Johnson kept
in close communication throughout
the lengthy post schedule. "So, for
instance, in our storm scene, I put a
lot of tungsten back into the clothes
and the ship's sails so it wasn't this
crisp white and cold marine blue.
And I encouraged Jody to put more
of our saturation back into the images
- the film's palette was always
aggressively saturated. It's extroverted, and brave in a way. And I
hope audiences see that.
"Collaborating with Ron is
such a positive experience because he
never pushes," the cinematographer
concludes. "Instead, he brings you on
this ride - this extraordinary, physically difficult, challenging journey -
and I'm so glad I was able to take it
with him."

"This was a journey," Howard
adds, "and a special one for me, like
Backdraft and Apollo 13 and Rush
- one of the most difficult, yet
meaningful. These men were the
astronauts of their time, working with
cutting-edge technology and risking
their lives to fuel what was then a very
modern world. They were finding
their fortunes, and I think we
captured that feeling."
●

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa XT;
Canon Cinema EOS-1D C,
C300, C500;
Indiecam IndieGS2K
Panavision Primo,
Arri/Zeiss Ultra Prime, Kowa

69



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
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
American Cinematographer - January 2016 - 10
American Cinematographer - January 2016 - 11
American Cinematographer - January 2016 - 12
American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
American Cinematographer - January 2016 - 16
American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
American Cinematographer - January 2016 - 23
American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
American Cinematographer - January 2016 - 26
American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
American Cinematographer - January 2016 - 32
American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
American Cinematographer - January 2016 - 59
American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
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
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
American Cinematographer - January 2016 - 68
American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
American Cinematographer - January 2016 - 71
American Cinematographer - January 2016 - 72
American Cinematographer - January 2016 - 73
American Cinematographer - January 2016 - 74
American Cinematographer - January 2016 - 75
American Cinematographer - January 2016 - 76
American Cinematographer - January 2016 - 77
American Cinematographer - January 2016 - 78
American Cinematographer - January 2016 - 79
American Cinematographer - January 2016 - 80
American Cinematographer - January 2016 - 81
American Cinematographer - January 2016 - 82
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American Cinematographer - January 2016 - 84
American Cinematographer - January 2016 - 85
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American Cinematographer - January 2016 - 90
American Cinematographer - January 2016 - 91
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American Cinematographer - January 2016 - 93
American Cinematographer - January 2016 - 94
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American Cinematographer - January 2016 - 96
American Cinematographer - January 2016 - 97
American Cinematographer - January 2016 - 98
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American Cinematographer - January 2016 - 100
American Cinematographer - January 2016 - 101
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American Cinematographer - January 2016 - 115
American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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