American Cinematographer - January 2020 - 38

Wages of Sin

t & qt Scorsese and Prieto work
with actor Al Pacino (playing
Teamster-union boss Jimmy Hoffa)
to reenact one of the many public
hearings Hoffa was called to
attend. qqt P. Scott Sakamoto
operates Steadicam.

[Vision3 250D] 5207 and
[Vision3 500T] 5219, and the
rest on digital cameras for
the visual-effects work."
The film material was shot
with Arricam ST and LT
cameras
and
Cooke
Panchro Classic lenses. The
negative was processed at
Kodak's lab in New York
and scanned at Technicolor
in New York.

38

with reference images. "I separated the
decades through LUTs to help create
an emotional arc for the character," the
cinematographer recalls, "starting
with the 'memory' of Kodachrome,
which is quite colorful, especially saturating the red hues - and then of
Ektachrome, which is also colorful but
deflects colors in a very different way,
a little less saturated and more skewed
towards cyan green in the shadows.
And then, after Hoffa's death, the color
is gone from Sheeran's life; this was
achieved through the ENR LUT. I also
push-processed the negative for this
part of the story, adding additional
grain to the image."
Ultimately, Prieto reports, "We
shot approximately 51 percent of the
movie in 3-perf Super 35mm on Kodak
January 2020

American Cinematographer - 100 Years

In order to depict De Niro-as-Sheeran
through the several decades of the
story, the production had to find a way
to "de-age" him and other key
members of the cast. The process - as
overseen by ILM visual-effects supervisor Pablo Helman in close concert
with Scorsese - was a tech adventure
in its own right, but one thing the filmmakers knew from the outset was that
their assembly of deeply naturalistic
actors would not be game for the kind
of production environment that has
traditionally
seen
performers
helmeted or covered in markers, and
sometimes acting opposite props
rather than their fellow thespians. ILM
therefore worked closely with the filmmakers to develop a three-camera rig,
with a main camera and two witness
cameras, as well as a suite of software
geared to handle the inherent complexities.
"The reason the VFX de-aging
shots had to be captured digitally was
that ILM needed three cameras with
perfectly synchronized shutters for
each angle," Prieto explains. "This
would not be feasible on film cameras,
plus there were issues of size and
weight. The two witness cameras,
which were [Arri] Alexa Minis outfitted with [Arri/Zeiss] Ultra Prime



American Cinematographer - January 2020

Table of Contents for the Digital Edition of American Cinematographer - January 2020

Contents
American Cinematographer - January 2020 - Intro
American Cinematographer - January 2020 - Cover1
American Cinematographer - January 2020 - Cover2
American Cinematographer - January 2020 - 1
American Cinematographer - January 2020 - Contents
American Cinematographer - January 2020 - 3
American Cinematographer - January 2020 - 4
American Cinematographer - January 2020 - 5
American Cinematographer - January 2020 - 6
American Cinematographer - January 2020 - 7
American Cinematographer - January 2020 - 8
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American Cinematographer - January 2020 - 10
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American Cinematographer - January 2020 - 15
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American Cinematographer - January 2020 - 17
American Cinematographer - January 2020 - 18
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American Cinematographer - January 2020 - 21
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American Cinematographer - January 2020 - 67
American Cinematographer - January 2020 - 68
American Cinematographer - January 2020 - 69
American Cinematographer - January 2020 - 70
American Cinematographer - January 2020 - 70a
American Cinematographer - January 2020 - 70b
American Cinematographer - January 2020 - 71
American Cinematographer - January 2020 - 72
American Cinematographer - January 2020 - 73
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American Cinematographer - January 2020 - 100
American Cinematographer - January 2020 - 101
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American Cinematographer - January 2020 - 103
American Cinematographer - January 2020 - 104
American Cinematographer - January 2020 - Cover3
American Cinematographer - January 2020 - Cover4
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