American Cinematographer - January 2017 - 69

distributed via DAX and the cinematographer watched them on his iPad.
The filmmakers would sometimes go to
EFilm on weekends to watch them
DCP-projected.
The director of photography
wanted to be as close as possible to the
final look by the dailies stage. "I like to
have the intention for the look of the
film figured out when I shoot," he
explains. "I aim for making decisions in
regard to lenses, format, process and
lighting so that it's all there in the negative, and I like to make sure I'm right on
track - and I want to communicate
this look to my director and the visual
departments right away. Making precise
adjustments on a daily basis makes all
visual departments more in sync with
what we are aiming for."
The film was scanned by EFilm
at 6K and down-sampled to 4K with an
Arriscan. Leonnet colored from DPX
files using Lustre software; the mastering resolution was 2K.

Leonnet says one of the main
orders of business in the DI was to
"introduce blue in the blacks to emulate
the original Technicolor process."
Sandgren likens the finished color to
Superman's glossy hair. The cinematographer sat with Leonnet over several
evenings after days shooting the sports
bio Battle of the Sexes with directors
Jonathan Dayton and Valerie Faris -
and, again, Emma Stone. His last look
at La La Land was at a remote session at
Company 3 in London.
After the team's hard work realizing Chazelle's vision, the film went on
to win the best-actress prize for Stone at
the Venice Film Festival, followed by
the People's Choice Award at the
Toronto International Film Festival.
Musicals are rare these days, so at
Venice, Sandgren and Chazelle were
apprehensive about the movie's reception.
"The reviews were set to come
out at 10 a.m. and we had no idea," the

cinematographer recalls. "The producers felt good but we were scared -
'What are people going to think?' You
never know how they're going to react.
Maybe you're totally wrong about what
you think you've done." But the acclaim
that followed, he says, "was so much
fun."
‚óŹ

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Panavision C Series,
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Kodak Vision3 500T 5219/7219,
250D 5207
Digital Intermediate

69


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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
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
American Cinematographer - January 2017 - 8
American Cinematographer - January 2017 - 9
American Cinematographer - January 2017 - 10
American Cinematographer - January 2017 - 11
American Cinematographer - January 2017 - 12
American Cinematographer - January 2017 - 13
American Cinematographer - January 2017 - 14
American Cinematographer - January 2017 - 15
American Cinematographer - January 2017 - 16
American Cinematographer - January 2017 - 17
American Cinematographer - January 2017 - 18
American Cinematographer - January 2017 - 19
American Cinematographer - January 2017 - 20
American Cinematographer - January 2017 - 21
American Cinematographer - January 2017 - 22
American Cinematographer - January 2017 - 23
American Cinematographer - January 2017 - 24
American Cinematographer - January 2017 - 25
American Cinematographer - January 2017 - 26
American Cinematographer - January 2017 - 27
American Cinematographer - January 2017 - 28
American Cinematographer - January 2017 - 29
American Cinematographer - January 2017 - 30
American Cinematographer - January 2017 - 31
American Cinematographer - January 2017 - 32
American Cinematographer - January 2017 - 33
American Cinematographer - January 2017 - 34
American Cinematographer - January 2017 - 35
American Cinematographer - January 2017 - 36
American Cinematographer - January 2017 - 37
American Cinematographer - January 2017 - 38
American Cinematographer - January 2017 - 39
American Cinematographer - January 2017 - 40
American Cinematographer - January 2017 - 41
American Cinematographer - January 2017 - 42
American Cinematographer - January 2017 - 43
American Cinematographer - January 2017 - 44
American Cinematographer - January 2017 - 45
American Cinematographer - January 2017 - 46
American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
American Cinematographer - January 2017 - 52
American Cinematographer - January 2017 - 53
American Cinematographer - January 2017 - 54
American Cinematographer - January 2017 - 55
American Cinematographer - January 2017 - 56
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American Cinematographer - January 2017 - 67
American Cinematographer - January 2017 - 68
American Cinematographer - January 2017 - 69
American Cinematographer - January 2017 - 70
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American Cinematographer - January 2017 - 100
American Cinematographer - January 2017 - 101
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American Cinematographer - January 2017 - 103
American Cinematographer - January 2017 - 104
American Cinematographer - January 2017 - 105
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American Cinematographer - January 2017 - 107
American Cinematographer - January 2017 - 108
American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
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