American Cinematographer - April 2017 - 54

◗

Street Fighter

Right: Danny
catches up with
Ward Meachum
(Tom Pelphrey).
Below: Cast and
crew ready the
scene.

tried to embrace what the Harlem
setting had to offer for that show.
"Iron Fist takes place in a more
upscale environment, high above the
city, looking down from a perch," the
cinematographer continues. "I strove to
make the corporate world luminous and
airy, with a cooler, cleaner look. We
contrast that with the dark streets of
Chinatown and the warmer colors in
Colleen Wing's dojo. I had a wonderful
collaboration
with
[production
designer] Loren Weeks' team and the
set decorators to help set the color
schemes, shades and nuances."
Camera-wise, Iron Fist marked a
54

April 2017

technological evolution from Billeter's
previous work for Netflix, which
mandates 4K delivery. "It's been like
that since my first Netflix production,"
the cinematographer notes. "There are
more cameras available now that can do
4K, but when I started the choices were
a bit restrictive.
"On Jessica Jones and Luke Cage
we used Red [Epic] Dragons," he
continues. "With Iron Fist I opted to try
the Red Weapon [with Dragon 6K
sensor], which was quite remarkable
during camera tests. The Weapon's
advanced processing yields better sensor
performance - it's cleaner in the shadAmerican Cinematographer

ows, and it retains the highlights a bit
further, with a much softer roll-off into
clipping. We wanted to avoid clipping
at all costs, especially as, for the first
time [on a Marvel-Netflix series], we
were going to deliver the show in high
dynamic range [HDR]. [Weapon
Dragon cameras] capture in 16-bit raw,
so there's a lot of information in there to
work with." The crew recorded
Redcode Raw at 4K resolution with 5:1
compression.
For his lens package, the cinematographer details, "We used primarily the Panavision Primo 70 Series, and
supplemented those focal lengths with
Primo Primes [10mm, 17.5mm close
focus and 21mm close focus]. We rarely
used lenses longer than 40mm. We also
carried the 15-40mm [T2.6] and 2775mm [T2.6] Primo zooms to use on
the viewfinder and for crane work.
"I really liked the characteristics
of the Primo 70s for the story of Iron
Fist, because they are very crisp and
clean," Billeter continues. "They clickin focus very sharply but have a smooth
and silky falloff. They were 'detuned' by
Panavision in order to take the all-toosharp edge off; that became my bakedin diffusion filtration without resorting
to external filters."
Billeter shot Iron Fist on location



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

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
American Cinematographer - April 2017 - 10
American Cinematographer - April 2017 - 11
American Cinematographer - April 2017 - 12
American Cinematographer - April 2017 - 13
American Cinematographer - April 2017 - 14
American Cinematographer - April 2017 - 15
American Cinematographer - April 2017 - 16
American Cinematographer - April 2017 - 17
American Cinematographer - April 2017 - 18
American Cinematographer - April 2017 - 19
American Cinematographer - April 2017 - 20
American Cinematographer - April 2017 - 21
American Cinematographer - April 2017 - 22
American Cinematographer - April 2017 - 23
American Cinematographer - April 2017 - 24
American Cinematographer - April 2017 - 25
American Cinematographer - April 2017 - 26
American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
American Cinematographer - April 2017 - 39
American Cinematographer - April 2017 - 40
American Cinematographer - April 2017 - 41
American Cinematographer - April 2017 - 42
American Cinematographer - April 2017 - 43
American Cinematographer - April 2017 - 44
American Cinematographer - April 2017 - 45
American Cinematographer - April 2017 - 46
American Cinematographer - April 2017 - 47
American Cinematographer - April 2017 - 48
American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
American Cinematographer - April 2017 - 51
American Cinematographer - April 2017 - 52
American Cinematographer - April 2017 - 53
American Cinematographer - April 2017 - 54
American Cinematographer - April 2017 - 55
American Cinematographer - April 2017 - 56
American Cinematographer - April 2017 - 57
American Cinematographer - April 2017 - 58
American Cinematographer - April 2017 - 59
American Cinematographer - April 2017 - 60
American Cinematographer - April 2017 - 61
American Cinematographer - April 2017 - 62
American Cinematographer - April 2017 - 63
American Cinematographer - April 2017 - 64
American Cinematographer - April 2017 - 65
American Cinematographer - April 2017 - 66
American Cinematographer - April 2017 - 67
American Cinematographer - April 2017 - 68
American Cinematographer - April 2017 - 69
American Cinematographer - April 2017 - 70
American Cinematographer - April 2017 - 71
American Cinematographer - April 2017 - 72
American Cinematographer - April 2017 - 73
American Cinematographer - April 2017 - 74
American Cinematographer - April 2017 - 75
American Cinematographer - April 2017 - 76
American Cinematographer - April 2017 - 77
American Cinematographer - April 2017 - 78
American Cinematographer - April 2017 - 79
American Cinematographer - April 2017 - 80
American Cinematographer - April 2017 - 81
American Cinematographer - April 2017 - 82
American Cinematographer - April 2017 - 83
American Cinematographer - April 2017 - 84
American Cinematographer - April 2017 - 85
American Cinematographer - April 2017 - 86
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American Cinematographer - April 2017 - 88
American Cinematographer - April 2017 - 89
American Cinematographer - April 2017 - 90
American Cinematographer - April 2017 - 91
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American Cinematographer - April 2017 - 94
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American Cinematographer - April 2017 - 97
American Cinematographer - April 2017 - 98
American Cinematographer - April 2017 - 99
American Cinematographer - April 2017 - 100
American Cinematographer - April 2017 - 101
American Cinematographer - April 2017 - 102
American Cinematographer - April 2017 - 103
American Cinematographer - April 2017 - 104
American Cinematographer - April 2017 - 105
American Cinematographer - April 2017 - 106
American Cinematographer - April 2017 - 107
American Cinematographer - April 2017 - 108
American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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