American Cinematographer - May 2014 - 41
and there we used EB lights, strip lights
that Cory designed, and layers of horizontal Chimeras that allowed us to
quickly get a backlight anywhere in the
room. It was all about being ready to
move fast and change direction quickly
whilst maintaining the quality of the
lighting."
Regarding exposure, Hall says, "A
photochemical finish requires precision
and consistency. I knew we were going
to have very limited manipulation of
color and contrast in post. Changes in
exposure would equate to changes in
contrast and saturation on the print, and
I wanted shots to cut perfectly within a
scene. We did print dailies, which are
such a great and absolute register of
what you're doing with exposure. In
testing, I developed a set of lights that I
was very happy with, and then I tried to
maintain that.
"There was definitely some very
low-light work, but because Wally and I
are not big fans of grain, we didn't want
to underexpose to the point of milky
blacks and grain," the cinematographer
continues. "We found the point beyond
which we felt the film stock fell apart,
and we didn't underexpose below that.
But within those limits, I used underand overexposure as a musician
uses fortissimo and pianissimo, techniques to implement a desired emotion
or mood. During testing, we also
found exactly where we liked to put
each actor's skin tone in terms of exposure, and that was rarely at key. On interiors, we liked to work around T2.8-T4,
and on exteriors, between T5.6-T11,
depending on the focal length. But on
darker scenes, I was often underexposing the key light by 2 stops. I overexposed some of the sets that featured a lot
of white because we found they looked
better that way - the whites became
cleaner."
For the visual effects, Pfister says
he asked for "a very photographic
aesthetic" from visual-effects supervisor
Nathan McGuinness and his team at
Double Negative, which employed an
all-4K workflow. Finished effects shots
were recorded back to 35mm film with
http://www.filmgear.net
http://www.nextshot.com
http://www.nextshot.com
American Cinematographer - May 2014
Table of Contents for the Digital Edition of American Cinematographer - May 2014
Contents
American Cinematographer - May 2014 - Cover1
American Cinematographer - May 2014 - Cover2
American Cinematographer - May 2014 - 1
American Cinematographer - May 2014 - 2
American Cinematographer - May 2014 - Contents
American Cinematographer - May 2014 - 4
American Cinematographer - May 2014 - 5
American Cinematographer - May 2014 - 6
American Cinematographer - May 2014 - 7
American Cinematographer - May 2014 - 8
American Cinematographer - May 2014 - 9
American Cinematographer - May 2014 - 10
American Cinematographer - May 2014 - 11
American Cinematographer - May 2014 - 12
American Cinematographer - May 2014 - 13
American Cinematographer - May 2014 - 14
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American Cinematographer - May 2014 - 17
American Cinematographer - May 2014 - 18
American Cinematographer - May 2014 - 19
American Cinematographer - May 2014 - 20
American Cinematographer - May 2014 - 21
American Cinematographer - May 2014 - 22
American Cinematographer - May 2014 - 23
American Cinematographer - May 2014 - 24
American Cinematographer - May 2014 - 25
American Cinematographer - May 2014 - 26
American Cinematographer - May 2014 - 27
American Cinematographer - May 2014 - 28
American Cinematographer - May 2014 - 29
American Cinematographer - May 2014 - 30
American Cinematographer - May 2014 - 31
American Cinematographer - May 2014 - 32
American Cinematographer - May 2014 - 33
American Cinematographer - May 2014 - 34
American Cinematographer - May 2014 - 35
American Cinematographer - May 2014 - 36
American Cinematographer - May 2014 - 37
American Cinematographer - May 2014 - 38
American Cinematographer - May 2014 - 39
American Cinematographer - May 2014 - 40
American Cinematographer - May 2014 - 41
American Cinematographer - May 2014 - 42
American Cinematographer - May 2014 - 43
American Cinematographer - May 2014 - 44
American Cinematographer - May 2014 - 45
American Cinematographer - May 2014 - 46
American Cinematographer - May 2014 - 47
American Cinematographer - May 2014 - 48
American Cinematographer - May 2014 - 49
American Cinematographer - May 2014 - 50
American Cinematographer - May 2014 - 51
American Cinematographer - May 2014 - 52
American Cinematographer - May 2014 - 53
American Cinematographer - May 2014 - 54
American Cinematographer - May 2014 - 55
American Cinematographer - May 2014 - 56
American Cinematographer - May 2014 - 57
American Cinematographer - May 2014 - 58
American Cinematographer - May 2014 - 59
American Cinematographer - May 2014 - 60
American Cinematographer - May 2014 - 61
American Cinematographer - May 2014 - 62
American Cinematographer - May 2014 - 63
American Cinematographer - May 2014 - 64
American Cinematographer - May 2014 - 65
American Cinematographer - May 2014 - 66
American Cinematographer - May 2014 - 67
American Cinematographer - May 2014 - 68
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American Cinematographer - May 2014 - 70
American Cinematographer - May 2014 - 71
American Cinematographer - May 2014 - 72
American Cinematographer - May 2014 - 73
American Cinematographer - May 2014 - 74
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American Cinematographer - May 2014 - 78
American Cinematographer - May 2014 - 79
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American Cinematographer - May 2014 - Cover3
American Cinematographer - May 2014 - Cover4
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