American Cinematographer - January 2016 - 53

would be "the most complicated DI I
have ever done."
And according to Scott, this
complexity was integral to Lubezki's
overall strategy of using the DI tools to
enhance the natural light of his on-set
work. "The extra 'toolset' Chivo brings
with him to any set," Scott says, "is his
thorough knowledge of what options
and capabilities await him in the DI. He
plans ahead of time - and while he's
shooting - what he is going to need
down the line."
By way of example, Scott points
to the particularly complex "roto" work
performed throughout The Revenant
for individual faces. "For each shot we
went through," he explains, "we would
hand-animate mattes to conform to the
natural contours and shadings of a
moving face or body. Sometimes Chivo
would want to lift a whole face and
sometimes he would want to create
more of a directional key light, so we
would make a couple of mattes - one

for the shadow side of the face and one
for the highlight side." Scott makes a
point to emphasize that this process is
"by Chivo's design. For months in
advance of us ever doing the DI, he
insisted that we work on the raw
footage to help develop the mattes. He
always shot with that process in mind.
"The cliché that 'it takes a village'
is certainly applicable here," Scott adds
with good humor. "No single artist
could have ever accomplished what we
did here." He points to the efforts of his
fellow finishing artists Mike Hatzer,
Charles Bunnag and Ntana Key;
Dillon, his finishing producer; Doug
Spilatro, who led the roto team; and
Bob Schneider, who headed the DIspecific editorial work, and concludes,
"That's another way Chivo has
pioneered this whole process - the
idea of coordinating the efforts of so
many talented artists for a single DI."
Iñárritu describes the digital
intermediate work on The Revenant as

the "final touches" on Lubezki's expert
use of natural light. "The light is the
sauce on the plate - what is poured
over the whole thing," the director says.
"It's about Chivo's use of light, and also
his knowledge of the light. That is what
he brings here, and why I needed him to
shoot the movie, and why he is doing
such great work in the DI right now."
Additional reporting by Andrew
Fish.
●

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, M, 65
Arri/Zeiss Master Prime,
Leica Summilux-C,
Arri Prime 65

53


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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
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
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American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
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American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
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American Cinematographer - January 2016 - 33
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American Cinematographer - January 2016 - 53
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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 - 78
American Cinematographer - January 2016 - 79
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American Cinematographer - January 2016 - Cover3
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