American Cinematographer - May 2012 - 20

Top: Reese and his mysterious cohort, Harold Finch (Michael Emerson), do some research. Middle: A carefully shaped composition underscores Finch’s remoteness. Bottom: Reese meets with NYPD detectives Fusco (Kevin Chapman, right) and Olson (Allan Louis).

All of the Alexa footage is captured at 1920x1080 ProRes 4:4:4 in Log C to SxS cards. The cameras are rated at 800 ASA to optimize their dynamic range. Kolodny likens the feed to “a clean, pure negative.” He notes, “We have our ‘film-stock look,’ which is our initial linear correction, but every time we move the camera or switch the lens, we do a new look.” An HD image is taken from the Alexa’s HD/SDI connection and run to Kolodny’s DIT cart, where he and Maniaci use LinkColor software for Blackmagic HDLink Pro to make picture adjustments. From there, the LUT-corrected signal is sent to video village for the directors and producers, while a Color Decision List and .cube files are generated for every look. Kolodny also exports high-resolution color-corrected TIFFs of each scene to send to the post facility along with the footage and LUT data. Dailies are handled by Company 3’s New York facility, where colorist John Bonta applies the appropriate LUT supplied by Kolodny, who works with an HD monitor calibrated to match Bonta’s. The dailies (downconverted to standard definition) thereby match Maniaci’s on-set corrections, apart from an occasional tweak to finesse shifts in daylight from shot-to-shot. “The process is fast and efficient,” says Maniaci. “While I’m lighting and setting up the cameras, Gabe creates four or five different looks. When I come back to the tent, we’ll cycle through them, take the best direction and refine it. Because we’re not baking the look into the footage, we’ve got three or four takes to polish it. The color doesn’t have to be finalized until we’re finished shooting the scene.” The color corrections are applied to the A and B cameras, with some finessing to mitigate the small differences between lenses and the way the cameras interpret color. (The B camera, for example, tends toward warmer tones with a slight magenta shift.) Meanwhile, camera operators Alec Jarnagin, David Thompson and Manuel Billeter monitor their shots using the Alexa’s built-in Rec 709 viewing LUT. “We’re getting what we want on set rather than relying on a post process to create a look,” notes Maniaci. The cinematographer says he started developing this approach on the Showtime

20

May 2012

American Cinematographer



American Cinematographer - May 2012

Table of Contents for the Digital Edition of American Cinematographer - May 2012

American Cinematographer - May 2012
Contents
Editor’s Note
President’s Desk
Short Takes: M.I.A.’s “Bad Girls”
Production Slate: Person of Interest • The Raven
Harsh Realms
Wild Passion
Tales of Ordinary Madness
Top of Their Class
Center Stage for Cinematographers
Post Focus: Technicolor Restores Wings
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
Clubhouse News
ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - American Cinematographer - May 2012
American Cinematographer - May 2012 - Cover2
American Cinematographer - May 2012 - 1
American Cinematographer - May 2012 - 2
American Cinematographer - May 2012 - 3
American Cinematographer - May 2012 - Contents
American Cinematographer - May 2012 - 5
American Cinematographer - May 2012 - 6
American Cinematographer - May 2012 - 7
American Cinematographer - May 2012 - Editor’s Note
American Cinematographer - May 2012 - 9
American Cinematographer - May 2012 - President’s Desk
American Cinematographer - May 2012 - 11
American Cinematographer - May 2012 - Short Takes: M.I.A.’s “Bad Girls”
American Cinematographer - May 2012 - 13
American Cinematographer - May 2012 - 14
American Cinematographer - May 2012 - 15
American Cinematographer - May 2012 - 16
American Cinematographer - May 2012 - 17
American Cinematographer - May 2012 - Production Slate: Person of Interest • The Raven
American Cinematographer - May 2012 - 19
American Cinematographer - May 2012 - 20
American Cinematographer - May 2012 - 21
American Cinematographer - May 2012 - 22
American Cinematographer - May 2012 - 23
American Cinematographer - May 2012 - 24
American Cinematographer - May 2012 - 25
American Cinematographer - May 2012 - 26
American Cinematographer - May 2012 - 27
American Cinematographer - May 2012 - 28
American Cinematographer - May 2012 - 29
American Cinematographer - May 2012 - 30
American Cinematographer - May 2012 - 31
American Cinematographer - May 2012 - Harsh Realms
American Cinematographer - May 2012 - 33
American Cinematographer - May 2012 - 34
American Cinematographer - May 2012 - 35
American Cinematographer - May 2012 - 36
American Cinematographer - May 2012 - 37
American Cinematographer - May 2012 - 38
American Cinematographer - May 2012 - 39
American Cinematographer - May 2012 - 40
American Cinematographer - May 2012 - 41
American Cinematographer - May 2012 - Wild Passion
American Cinematographer - May 2012 - 43
American Cinematographer - May 2012 - 44
American Cinematographer - May 2012 - 45
American Cinematographer - May 2012 - 46
American Cinematographer - May 2012 - 47
American Cinematographer - May 2012 - 48
American Cinematographer - May 2012 - 49
American Cinematographer - May 2012 - 50
American Cinematographer - May 2012 - 51
American Cinematographer - May 2012 - Tales of Ordinary Madness
American Cinematographer - May 2012 - 53
American Cinematographer - May 2012 - 54
American Cinematographer - May 2012 - 55
American Cinematographer - May 2012 - 56
American Cinematographer - May 2012 - 57
American Cinematographer - May 2012 - 58
American Cinematographer - May 2012 - 59
American Cinematographer - May 2012 - 60
American Cinematographer - May 2012 - 61
American Cinematographer - May 2012 - Top of Their Class
American Cinematographer - May 2012 - 63
American Cinematographer - May 2012 - 64
American Cinematographer - May 2012 - 65
American Cinematographer - May 2012 - 66
American Cinematographer - May 2012 - 67
American Cinematographer - May 2012 - 68
American Cinematographer - May 2012 - Center Stage for Cinematographers
American Cinematographer - May 2012 - 70
American Cinematographer - May 2012 - 71
American Cinematographer - May 2012 - 72
American Cinematographer - May 2012 - 73
American Cinematographer - May 2012 - 74
American Cinematographer - May 2012 - 75
American Cinematographer - May 2012 - 76
American Cinematographer - May 2012 - 77
American Cinematographer - May 2012 - 78
American Cinematographer - May 2012 - 79
American Cinematographer - May 2012 - 80
American Cinematographer - May 2012 - 81
American Cinematographer - May 2012 - Post Focus: Technicolor Restores Wings
American Cinematographer - May 2012 - 83
American Cinematographer - May 2012 - 84
American Cinematographer - May 2012 - 85
American Cinematographer - May 2012 - 86
American Cinematographer - May 2012 - 87
American Cinematographer - May 2012 - New Products & Services
American Cinematographer - May 2012 - 89
American Cinematographer - May 2012 - 90
American Cinematographer - May 2012 - 91
American Cinematographer - May 2012 - International Marketplace
American Cinematographer - May 2012 - Classified Ads
American Cinematographer - May 2012 - Ad Index
American Cinematographer - May 2012 - In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
American Cinematographer - May 2012 - 96
American Cinematographer - May 2012 - 97
American Cinematographer - May 2012 - Clubhouse News
American Cinematographer - May 2012 - 99
American Cinematographer - May 2012 - ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - Cover3
American Cinematographer - May 2012 - Cover4
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