American Cinematographer - March 2017 - 24

Right: The crew
preps an action
sequence in which
Lin Mei and her
fellow warriors
dive into battle.
Below:
Cinematographer
Zhao Xiaoding,
CSC (left) and
director Zhang
Yimou study a
scene.

Noodle Shop, which also shot at the
painted mountains. "Vibrant costumes,
great sets and fantastic visual effects helped
set the tone," Cole says. "Particularly, the
troop's armor is a very specific choice by the
director, and we worked hard to maximize
the colors. Many keys and shape isolations
helped keep the colors consistent and
enhance mood."
The resulting movie stands as a
unique combination of cultural sensibilities,
and may point the way for future blockbusters. "It was a good collaboration with a
high budget," Zhao notes. "I worked with
many excellent professionals. It's a good
thing for East to meet West and for the two
cultures to learn from each other. Both
Zhang Yimou and I think it was a good
experience. It may be a good beginning for
China-U.S. co-production."
colors replicated the rainbow lighting effect
from the stained glass in the tunnel. Up in
the pagoda, where a climactic battle
unfolds, single-source HMI Fresnels cast big
beams behind the glass.
Dryburgh spent two weeks on the
grade in Burbank with FotoKem senior
colorist and ASC associate David Cole,
followed by Zhao and Zhang. FotoKem
color scientist Joseph Slomka built a custom
HDR LUT based on Cole's requirements.
24

March 2017

Cole performed the grade using
Linux-based DaVinci Resolve systems. The
ArriRaw files from the Alexa 65 and XT were
deBayered into a common resolution
container of linear EXRs with wide-gamut
color. Cole graded in log. For the 2D version,
the filmmakers worked with the 6K Alexa
65 material deBayered to 4K.
During the DI process, references
were made to earlier films by Zhao and
Zhang, especially A Woman, a Gun and a
American Cinematographer

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa 65, XT, Mini; Red Epic Dragon,
Weapon Dragon
Arri Prime 65, Vintage 765;
Arri/Zeiss Master Anamorphic;
Angenieux Optimo, Optimo Anamorphic

➣



Table of Contents for the Digital Edition of American Cinematographer - March 2017

Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
American Cinematographer - March 2017 - 7
American Cinematographer - March 2017 - 8
American Cinematographer - March 2017 - 9
American Cinematographer - March 2017 - 10
American Cinematographer - March 2017 - 11
American Cinematographer - March 2017 - 12
American Cinematographer - March 2017 - 13
American Cinematographer - March 2017 - 14
American Cinematographer - March 2017 - 15
American Cinematographer - March 2017 - 16
American Cinematographer - March 2017 - 17
American Cinematographer - March 2017 - 18
American Cinematographer - March 2017 - 19
American Cinematographer - March 2017 - 20
American Cinematographer - March 2017 - 21
American Cinematographer - March 2017 - 22
American Cinematographer - March 2017 - 23
American Cinematographer - March 2017 - 24
American Cinematographer - March 2017 - 25
American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
American Cinematographer - March 2017 - 26
American Cinematographer - March 2017 - 27
American Cinematographer - March 2017 - 28
American Cinematographer - March 2017 - 29
American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
American Cinematographer - March 2017 - 32
American Cinematographer - March 2017 - 33
American Cinematographer - March 2017 - 34
American Cinematographer - March 2017 - 35
American Cinematographer - March 2017 - 36
American Cinematographer - March 2017 - 37
American Cinematographer - March 2017 - 38
American Cinematographer - March 2017 - 39
American Cinematographer - March 2017 - 40
American Cinematographer - March 2017 - 41
American Cinematographer - March 2017 - 42
American Cinematographer - March 2017 - 43
American Cinematographer - March 2017 - 44
American Cinematographer - March 2017 - 45
American Cinematographer - March 2017 - 46
American Cinematographer - March 2017 - 47
American Cinematographer - March 2017 - 48
American Cinematographer - March 2017 - 49
American Cinematographer - March 2017 - 50
American Cinematographer - March 2017 - 51
American Cinematographer - March 2017 - 52
American Cinematographer - March 2017 - 53
American Cinematographer - March 2017 - 54
American Cinematographer - March 2017 - 55
American Cinematographer - March 2017 - 56
American Cinematographer - March 2017 - 57
American Cinematographer - March 2017 - 58
American Cinematographer - March 2017 - 59
American Cinematographer - March 2017 - 60
American Cinematographer - March 2017 - 61
American Cinematographer - March 2017 - 62
American Cinematographer - March 2017 - 63
American Cinematographer - March 2017 - 64
American Cinematographer - March 2017 - 65
American Cinematographer - March 2017 - 66
American Cinematographer - March 2017 - 67
American Cinematographer - March 2017 - 68
American Cinematographer - March 2017 - 69
American Cinematographer - March 2017 - 70
American Cinematographer - March 2017 - 71
American Cinematographer - March 2017 - 72
American Cinematographer - March 2017 - 73
American Cinematographer - March 2017 - 74
American Cinematographer - March 2017 - 75
American Cinematographer - March 2017 - 76
American Cinematographer - March 2017 - 77
American Cinematographer - March 2017 - 78
American Cinematographer - March 2017 - 79
American Cinematographer - March 2017 - 80
American Cinematographer - March 2017 - 81
American Cinematographer - March 2017 - 82
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American Cinematographer - March 2017 - 84
American Cinematographer - March 2017 - 85
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American Cinematographer - March 2017 - 87
American Cinematographer - March 2017 - 88
American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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