American Cinematographer - February 2014 - 43

ial on set at the DIT station, which was
equipped with DaVinci Resolve. At the
end of each day, Berkowitz sent DPX
files to Arri as reference for dailies
colorist Steffen Paul.
"Arri created our Blu-ray dailies
off the ArriRaw based on our colorcorrected LUT, and they also matched
our film footage to single-frame stills I
shot with the Alexa whenever we shot
film, applying our LUT as a reference,"
recalls Papamichael.
The cinematographer notes that
Clooney "doesn't like a lot of fancy
camerawork. Most of the moves in this
film are traditional dolly moves. The
camera never moves in a way that
'makes a statement.' Moves are almost
always motivated by the actors' movements. We often used a 4-foot slider for
short moves like push-ins."
Because of the production's
financing, the final grade was performed
in London at Technicolor's Soho facility
by U.S. colorist Skip Kimball, who used

DaVinci Resolve 10. Papamichael
crossed the pond for the process and
says his goal was to ensure "good saturation with solid blacks, while also maintaining natural-feeling skin tones. I
wanted to achieve and maintain that
painterly quality we set out to achieve
without being too aggressive with the
contrast. I was after subtle but rich
tonality."
The picture was edited by
Stephen Mirrione on an Avid system,
while conforming was done on
Autodesk Smoke. The negative was
scanned at 4K on a Northlight, and an
Arrilaser was used for the 4K filmout. "I
had to match the geometry between the
flat and anamorphic, and then I applied
a film grain to the Alexa footage to
match the 35mm," Kimball explains.
Trying to give the film scenes the same
level of shadow detail that the Alexa
raw material had in the low end was
perhaps the biggest challenge, he adds.
Papamichael was excited to work

on such a large canvas after doing a
completely different kind of project for
Payne. "It was fascinating going from
Nebraska, which is basically two characters in a car and a very stark landscape,
to a World War II story loaded with
movie stars and classical Hollywood
lighting. That's what cinematographers
love about the job: It's different every
time!"
●

TECHNICAL SPECS
2.40:1
Digital Capture and 35mm
Arri Alexa Plus; Arricam Lite
Hawk V-Lite, V-Plus;
Arri Master Prime;
Angenieux Optimo
Kodak Vision3 500T 5219
Digital Intermediate



http://www.aja.com http://www.aja.com

American Cinematographer - February 2014

Table of Contents for the Digital Edition of American Cinematographer - February 2014

Table of Contents
American Cinematographer - February 2014 - Cover1
American Cinematographer - February 2014 - Cover2
American Cinematographer - February 2014 - 1
American Cinematographer - February 2014 - 2
American Cinematographer - February 2014 - Table of Contents
American Cinematographer - February 2014 - 4
American Cinematographer - February 2014 - 5
American Cinematographer - February 2014 - 6
American Cinematographer - February 2014 - 7
American Cinematographer - February 2014 - 8
American Cinematographer - February 2014 - 9
American Cinematographer - February 2014 - 10
American Cinematographer - February 2014 - 11
American Cinematographer - February 2014 - 12
American Cinematographer - February 2014 - 13
American Cinematographer - February 2014 - 14
American Cinematographer - February 2014 - 15
American Cinematographer - February 2014 - 16
American Cinematographer - February 2014 - 17
American Cinematographer - February 2014 - 18
American Cinematographer - February 2014 - 19
American Cinematographer - February 2014 - 20
American Cinematographer - February 2014 - 21
American Cinematographer - February 2014 - 22
American Cinematographer - February 2014 - 23
American Cinematographer - February 2014 - 24
American Cinematographer - February 2014 - 25
American Cinematographer - February 2014 - 26
American Cinematographer - February 2014 - 27
American Cinematographer - February 2014 - 28
American Cinematographer - February 2014 - 29
American Cinematographer - February 2014 - 30
American Cinematographer - February 2014 - 31
American Cinematographer - February 2014 - 32
American Cinematographer - February 2014 - 33
American Cinematographer - February 2014 - 34
American Cinematographer - February 2014 - 35
American Cinematographer - February 2014 - 36
American Cinematographer - February 2014 - 37
American Cinematographer - February 2014 - 38
American Cinematographer - February 2014 - 39
American Cinematographer - February 2014 - 40
American Cinematographer - February 2014 - 41
American Cinematographer - February 2014 - 42
American Cinematographer - February 2014 - 43
American Cinematographer - February 2014 - 44
American Cinematographer - February 2014 - 45
American Cinematographer - February 2014 - 46
American Cinematographer - February 2014 - 47
American Cinematographer - February 2014 - 48
American Cinematographer - February 2014 - 49
American Cinematographer - February 2014 - 50
American Cinematographer - February 2014 - 51
American Cinematographer - February 2014 - 52
American Cinematographer - February 2014 - 53
American Cinematographer - February 2014 - 54
American Cinematographer - February 2014 - 55
American Cinematographer - February 2014 - 56
American Cinematographer - February 2014 - 57
American Cinematographer - February 2014 - 58
American Cinematographer - February 2014 - 59
American Cinematographer - February 2014 - 60
American Cinematographer - February 2014 - 61
American Cinematographer - February 2014 - 62
American Cinematographer - February 2014 - 63
American Cinematographer - February 2014 - 64
American Cinematographer - February 2014 - 65
American Cinematographer - February 2014 - 66
American Cinematographer - February 2014 - 67
American Cinematographer - February 2014 - 68
American Cinematographer - February 2014 - 69
American Cinematographer - February 2014 - 70
American Cinematographer - February 2014 - 71
American Cinematographer - February 2014 - 72
American Cinematographer - February 2014 - 73
American Cinematographer - February 2014 - 74
American Cinematographer - February 2014 - 75
American Cinematographer - February 2014 - 76
American Cinematographer - February 2014 - 77
American Cinematographer - February 2014 - 78
American Cinematographer - February 2014 - 79
American Cinematographer - February 2014 - 80
American Cinematographer - February 2014 - 81
American Cinematographer - February 2014 - 82
American Cinematographer - February 2014 - 83
American Cinematographer - February 2014 - 84
American Cinematographer - February 2014 - 85
American Cinematographer - February 2014 - 86
American Cinematographer - February 2014 - 87
American Cinematographer - February 2014 - 88
American Cinematographer - February 2014 - 89
American Cinematographer - February 2014 - 90
American Cinematographer - February 2014 - 91
American Cinematographer - February 2014 - 92
American Cinematographer - February 2014 - Cover3
American Cinematographer - February 2014 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com