American Cinematographer - January 2016 - 49

Edge Arch Head; an Edge Head; a
"T90" Edge Head variation custom
designed by Lev Yevstratov; and an electric Polaris camera car.
Meanwhile, on the data side, To
says he had to "adapt my normal process
[and become] extremely mobile in order
to be flexible enough to cater to the runand-gun nature of the show. Since much
of the show involved moving quickly
across large distances and difficult terrain,
I built what I called 'Mission Control' [to
serve as a mobile DIT station]. Mission
Control contained [Boxx Meridian,
Paralinx Tomahawk and Teradek Bolt
2000 units] that gave me the ability to
receive an image from multiple cameras;
distribute the image in raw, Log or
colored with our show LUT; analyze the
image with false color; and transmit
waveform and false colors to my iris
handset. It operated off the same
[Anton/Bauer Dionic 91 onboard
camera] batteries we all used as a department, and could operate with the case
closed in order to recirculate heat and be
fully weatherproof.
"Then, if I had the chance," To
continues, "I would also set up an icefishing tent with a small - but still
mobile - DIT station inside. This unit
consisted of a larger [17" Sony PVMA170] OLED monitor calibrated by
Technicolor; it could do everything
Mission Control did, but in a more stable
environment. It was wired so it could run
off of block batteries, since power was not
always available, and could be linked to
Mission Control to handle multiple
cameras."
After shooting, To's team would
download one copy of the footage to a
48TB RAID media station on a camera
truck as a backup, and then ship the XR
mag itself in a Pelican case, via the transportation department, to Technicolor
staff - including Kenny Vicent, Chris
Van Duyn and Chris Giuffrida - at the
film's production office in Calgary. There,
To explains, Technicolor "colored and
manufactured dailies, which were
projected for us using their mobile onsite projection lab."
"We used [Autodesk] Lustre [for


http://www.adorama.com http://www.adorama.com/shipping http://www.adorama.com/pro

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
American Cinematographer - January 2016 - 11
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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
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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
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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
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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
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American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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