American Cinematographer - January 2016 - 26
The lighting is
rigged high
above a
walkway for a
dream sequence
in which Fred
approaches a
concert hall for a
performance but
is thwarted by
rising waters.
tal in Rome on a DaVinci Resolve system by
Bigazzi's longtime colorist Andrea Orsini.
According to Bigazzi, it is important to pay
increased attention to contrast and chroma
when shooting on digital. "Many scenes,
especially those shot at night, get their true
atmosphere in the lab," he says. "Making
actors come further from the background
with masks, [adding] more contrast, or
letting shadows become readable is the
only solution to getting rid of the 'set
tyranny' of [tight] schedules or problems
with the actual scenic area."
Apropos of the themes explored in
the film, Bigazzi concludes: "I'm getting
older now, but I don't want to be considered an 'experienced' cinematographer,
because any time I learn something, I [lose]
my chance to improvise. I know how to
light, but I really don't want to know. You
feel closer to the subject and the script
when trying to find new solutions."
[extremely] big windows - so we shot
with HDRx and [used] very few lights, maintaining the opportunity to see the
panorama through the windows."
Because the process essentially
doubles the data stream, Bigazzi shoots at
26
January 2016
a higher compression rate when employing
the HDRx system than he would for normal
Red files. "I can't really see much of a difference between 5:1 and 7:1 compression,"
he says.
Youth was graded at Margutta DigiAmerican Cinematographer
TECHNICAL SPECS
2.39:1
Digital Capture
Red Epic Dragon
Arri/Zeiss Ultra Prime
➣
American Cinematographer - January 2016
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
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American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
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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
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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
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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
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American Cinematographer - January 2016 - 70
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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
American Cinematographer - January 2016 - 83
American Cinematographer - January 2016 - 84
American Cinematographer - January 2016 - 85
American Cinematographer - January 2016 - 86
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American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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