American Cinematographer - January 2016 - 77

Tindall operated the B camera. When I
operate digital cameras, I never really
use the viewfinder, because the digital
image looks so crappy that it's a bit
depressing. So I look at the monitor; we
can also get a LUT on the monitor, and
it's nice to see what the image is going
to look like. I light off the little onboard
monitor as well.
Given the colors on this movie, I
imagine that the LUT image could
look quite different from the set.
Arkapaw: Yeah. [Laughs.]
You're pretty fearless in terms of
color variations.
Arkapaw: Like I said earlier,
there's so much scope for expression
with Shakespeare. And in the case of
Macbeth, you really are getting inside
the character's head - he's seeing
apparitions. Once you're inside someone's head, it's a dreamscape; there really
are no boundaries to what you can do.
So one liberty we decided we would
take was to not be restricted to matching every shot in a sequence.
Yes - as we go from the soldiers
fighting, to the witches, to Macbeth,
the image goes from greenish, to
yellowish, then magenta.
Arkapaw: That was another
subversion that we tried to do. You
might expect the witches to be colder or
more macabre, but we wanted them to
be warmer. We tried to use the sun and
flares to make the image sort of heavenly - more angelic than witchy, I
guess.
The battle shots aren't all matching, which evokes Macbeth's PTSD.
We tried to be inside his mind and see
all the gruesome, traumatic things he
would have seen in battle. Being a great
commander, he would have been
through many battles; in Justin's interpretation, that took its toll and made
him descend into madness.
Do you create these colored
looks with LUTs you've prepared
ahead of time?
Arkapaw: Yes, I like to create a
range of LUTs in preproduction - a
range from cold to warm, and a few
LUTs for specific scenes. For example,


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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 - 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
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