American Cinematographer - April 2013 - 33

[120mb/s] files, which are lossless because
the originals are already compressed at
50mb/s. Chris and I would sit down at night
to view the rushes over a glass of wine and
discuss how things were going; this close
collaboration with him was a wonderful
experience. The ASA decisions I was making
on set and the grain were burned into the
image, and I treated color balance the same
way because I knew we wouldn’t have long
in the grade. I adjusted the color balance
quite carefully for pretty much every scene.
What was the focus of your
work in the final grade?
Metcalfe: After sorting through
various complications, we graded in Final
Cut Color using the converted ProRes files.
Our focus was to emphasize the savagery of
this period in history by desaturating the
image but holding in the reds, so that
wounds feel real but the world feels cold
and foreboding. We also graded individual
sections within montages differently to
suggest that characters were moving in
place and time. Grading in the director’s
house is not ideal, but, in fact, there was

A frame grab reveals Hereward in distress.

only so far we could go because so much
had been created in-camera. And, fortunately, Chris is very much a visual director, so
I really enjoyed working with him. In fact, all
of the department heads were outstanding.
I don’t know how this group of people
came together on this budget, but it was a
great experience!
●

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American Cinematographer - April 2013

Table of Contents for the Digital Edition of American Cinematographer - April 2013
