American Cinematographer - January 2016 - 34

Top: Erdély
captures the
scene in which
Saul, searching
for a rabbi to
bury his son,
joins prisoners
being marched
into the woods.
Bottom: Natural
light was
utilized for day
exteriors filmed
at an
abandoned
military barracks
in Hungary.

projecting Son of Saul on film.
As part of their prep, Erdély notes
that he and Nemes drove to Auschwitz
and explored the site for a couple of days.
"I have such huge respect for László," he
concludes. "And he is so generous; he has
shared the film's success with all of us. It's
a strange thing to say, given what this
movie is about, but the shoot was the
most satisfying I have ever worked on,
both professionally and personally."

TECHNICAL SPECS

used for the film: Elem Klimov's 1985
Soviet war drama Come and See. "It is
different in many ways, but it is also a
very personal journey and a very immersive experience," says Nemes. "We even
contacted Aleksei Rodionov, who shot
the film."
Son of Saul was processed at
Magyar Filmlabor in Budapest, and
Erdély's only instruction was to push one
stop for night exteriors. Printed dailies
were screened every day. "I have worked
with that lab, and with color timer Viola
Regéczy, for years," he reports. "They are
absolutely amazing."
Regéczy was the colorist on both
the dailies and the final film grade. The
photochemical finish was completed at
34

January 2016

the Hungarian film lab Filmlaboratórium.
No digital intermediate was performed in
the generation of the final analog deliverable, for which Kodak Vision Color Print
Film 2383 served as the print stock.
A 4K FilmLight Northlight scanner,
aided by The Pixel Farm's dust-busting
technology, was employed to generate
the digital version of Son of Saul. The digital color grade was performed by László
Kovács with FilmLight Baselight Four, and
the final digital deliverable was a 2K DCP.
"We also did a 4K film-out on an Arrilaser
to create an interneg for additional
prints," Erdély says. And though digital
projection is the predominant theatrical
display method, it is Nemes' strong preference that audiences seek out theaters
American Cinematographer

1.37:1
35mm
Arricam Lite, Arriflex 235
Arri/Zeiss Master Prime
Kodak Vision3 500T 5219

●

ERRATUM
In our coverage of Everest in the October
2015 issue, we misidentified the digitalimaging technician who was with the
production on location. Kerr Loy served as
DIT - with Ash Daniyan as the lab technician - for the location filming in Nepal
and Italy, and for a portion of the stage
work in London. Jody Neckles then
stepped in as DIT for the remainder of the
work in London.



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
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American Cinematographer - January 2016 - 14
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American Cinematographer - January 2016 - 18
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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
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