American Cinematographer - January 2017 - 68

◗

City of Stars

Cast and crew capture a pool scene, with the camera on a Hydro Head mounted on a Lenny Arm II Plus.

professional dancers take over as we see
the couple in silhouette. That segment
was shot on a 40' bluescreen platform.
For a sequence toward the end of
the film, in which Sebastian and Emma

68

watch projections on a screen, the filmmakers employed an Aaton A-Minima
N16 16mm camera and 500T 7219
stock for a grainier look, which lent
itself well to home-movie-style shots of

domestic bliss. Panavision and Sasaki
produced a new T2.8 18mm 2x
anamorphic lens that brought a desired
haziness to the 16mm footage.
In the mornings throughout
production, EFilm dailies colorist Matt
Wallach, seeking Sandgren's sign-off,
would send him stills from the previous
day's shoot. The cinematographer
would view them on an iPad calibrated
with Wallach's projector. They applied a
LUT that was arrived at in prep. "The
LUT had close to a D6500 white point
that best allowed the colors to stand
out," says EFilm DI colorist Natasha
Leonnet. "We found that when we used
a warmer white point, the colors seemed
to recede."
Sandgren notes, "Wallach has a
sensibility for the nature of analog film
stock, and makes very natural adjustments to the image. We both like to
embrace what the film negative gives
us."
Dailies, generated by EFilm, were


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Table of Contents for the Digital Edition of American Cinematographer - January 2017

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
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American Cinematographer - January 2017 - 48a
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