American Cinematographer - March 2017 - 42

◗

Lust for Light

was finding a common gamma, no
matter the camera's file format. Their
point of departure was the Arri cameras'
2.8K Log C ArriRaw file, to which the
C300's 4K Canon Log2 XF-AVC, the
ME20's HD Canon Log ProRes 4:2:2
HQ, the 4K and 2K Flares' ProRes
4:2:2 HQ and raw CinemaDNG, and
42

March 2017

the X5R's 4K D-Log CinemaDNG
files were matched.
All the material captured on set
was funneled through Carling's station,
where Pomfort LiveGrade Pro was used
to apply 3D LUTs in Rec 709 color
space and make grading adjustments
based on Dod Mantle's notes. Footage
American Cinematographer

from the 2K Flare was finessed in
Blackmagic Design's DaVinci Resolve,
due to a workflow idiosyncrasy in the
Convergent Design Odyssey7Q+
recorder that was used to capture raw
Bayered data and output a live
deBayered Log image to the monitors.
"At the start of principal photography,
the Odyssey was not deBayering the 2K
Flare's raw signal correctly," Carling
explains. "The recorded clips were okay,
but you could not rely on the monitor
signal from the Odyssey to be an accurate representation of the recorded files
- similar to an analog film tap.
Convergent Design has since fixed the
issue."
Working with the 2K Flare

Top-left photo courtesy of Dod Mantle.

Top left: The camera was mounted on a Libra
head on a Chapman dolly for the movie's
opening shot of Mark running on a
treadmill; the long, mobile shot was
achieved in an extended, choreographed
take that is broken up in the final edit with
rapid cuts of other imagery. Top right: Dod
Mantle and crew execute a high-angle shot
on location. Bottom: The cinematographer
positions an Alexa XT for a low-angle shot
of Mark and Spud jogging up to Arthur's
Seat, overlooking Edinburgh.



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
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American Cinematographer - March 2017 - 68
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American Cinematographer - March 2017 - 70
American Cinematographer - March 2017 - 71
American Cinematographer - March 2017 - 72
American Cinematographer - March 2017 - 73
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American Cinematographer - March 2017 - 78
American Cinematographer - March 2017 - 79
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American Cinematographer - March 2017 - 85
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American Cinematographer - March 2017 - 88
American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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