American Cinematographer - January 2019 - 50

Memories of Mexico

bution]," Cuarón adds. "In color, you
take advantage of the whole dynamic
range. Chivo's LUT allows some
contrast and the color tends to be desaturated, [yielding what] I would [call] a
'melancholic naturalism' - but in
black-and-white, and adding a bit of
contrast, I would characterize it as a 'soft
naturalism.'"
Both Lubezki's original LUT and
the modified LUT for Roma were
authored by ASC associate member and
Technicolor vice president of imaging
research and development Joshua

Pines, who notes, "The source timeline
was OpenEXR linear files in Arri widegamut color space. A linear-to-log (Log
C) transform was applied on input to
the color corrector. Creative grading
was done in this log space. Color information was available, which could
assist with keying for color correction
and visual effects. A custom finaloutput rendering transform provided
an overall creative look for the movie, in
addition to desaturating the image to
black-and-white."
Although originating in color,

The production employed 256-LED panels for interactive lighting at a moviepalace interior in which Cleo tells Fermín she is pregnant. Cuarón wanted the light
from the movie screen - playing a World War II-set comedy - to illuminate the
shot, which was captured from behind the couple's seats, encompassing the theater's
crowded floor level. A 35mm projection would not have been bright enough, so the
crew played the movie on a 22'-wide 256-LED panel, over which a 35mm projection
in the same sync was composited in post.
On each side of the screen, they placed an additional smaller panel playing a
fraction of the movie frame to wrap the light a bit more. These panels were erased
in post. "We were fighting with concert venues to get enough LED panels for that
day," Cuarón recalls.

50

January 2019

ASC 100th Anniversary

Cuarón insisted on looking at only
monochromatic
images
unless
absolutely necessary. "I didn't want to
have even the notion of color in the
process, including location-scouting
and casting," he says. "Everybody was
required to deliver their files in blackand-white."
Cuarón paired the camera with
Arri Prime 65 lenses, which he calls
"fantastic." He adds, "The downside
was that I wouldn't reach the sweet spot
of the lens until T4.5 to T5.6. Before that,
they would be soft and break up a little
bit, and edges would be more noticeable. Because of the format, the edges
tend to distort when you work with
lenses as wide as ours. For more than 10
years I've been working in spherical
35mm [format], and only with 18mm
and 21mm [lenses], and here with the
Alexa 65, we worked with the roughly
equivalent 35mm and 50mm."
Cuarón eschewed lens filters
other than NDs. "For interiors and big
spaces, I decided not to use any smoke



American Cinematographer - January 2019

Table of Contents for the Digital Edition of American Cinematographer - January 2019

Contents
American Cinematographer - January 2019 - Cover1
American Cinematographer - January 2019 - Cover2
American Cinematographer - January 2019 - 1
American Cinematographer - January 2019 - 2
American Cinematographer - January 2019 - Contents
American Cinematographer - January 2019 - 4
American Cinematographer - January 2019 - 5
American Cinematographer - January 2019 - 6
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American Cinematographer - January 2019 - A
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