American Cinematographer - February 2017 - 52
◗
Rebel Assault
From left:
Construction
manager Paul
Hayes,
supervising art
director Al
Bullock, Fraser
and coproduction
designer Doug
Chiang examine
the Rebel base.
and we invert that transform on the way
out. And so, if you have a show that's
shot on film, when you correctly
linearize that imagery on the way in, and
then you take footage that's shot with a
digital camera and you linearize that
correctly, you can mix the two of them
and when you put it out, it all blends.
From there, what seemed to me
like the obvious thing was, 'Why don't
we just take the digital imagery and
52
bring it in in the normal fashion, but put
it out with a film curve?' That way we
can get the best of both worlds, where
we have all the advantages that you get
from shooting with digital cameras, but
we have that nonlinear response that's
carefully measured from film and
applied to the final image. And Greig
was really intrigued by that idea. We did
a couple of tests, and he seemed really
happy with the results. So that was the
methodology on the show. Even
though we shot with the Alexa 65, it's
got a film emulation on the color
response. This was the first project I've
been involved with where we shot the
whole movie on digital cameras and
then applied this film lattice.
Greig paired the Alexa 65
camera with Ultra Panavision 70
lenses. Did that combination pose any
challenges for the visual-effects workflow?
Knoll: The Alexa 65 is a very
large format, and we were shooting with
the Panavision Ultra 70s mostly with
very open T-stops, so we had a very
shallow-depth-of-field look on this
movie. And when you're putting a background behind a character, and either
the character or the background is really
out of focus, that can be challenging -
like when we rack focus from Felicity to
the background, all her edges go really
soft, and that soft edge is much wider
with this camera than what we ordinar-
American Cinematographer - February 2017
Table of Contents for the Digital Edition of American Cinematographer - February 2017
Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
American Cinematographer - February 2017 - 8
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American Cinematographer - February 2017 - 14
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American Cinematographer - February 2017 - 20
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American Cinematographer - February 2017 - 27
American Cinematographer - February 2017 - 28
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American Cinematographer - February 2017 - 30
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American Cinematographer - February 2017 - 33
American Cinematographer - February 2017 - 34
American Cinematographer - February 2017 - 35
American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
American Cinematographer - February 2017 - 39
American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
American Cinematographer - February 2017 - 43
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American Cinematographer - February 2017 - 45
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American Cinematographer - February 2017 - 49
American Cinematographer - February 2017 - 50
American Cinematographer - February 2017 - 51
American Cinematographer - February 2017 - 52
American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
American Cinematographer - February 2017 - 54
American Cinematographer - February 2017 - 55
American Cinematographer - February 2017 - 56
American Cinematographer - February 2017 - 57
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American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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