American Cinematographer - May 2014 - 53
during the scouting period, after we'd
earmarked the areas we wanted to work
in, our greensman, Roger Holdman,
removed the tops of the trees to give us
enough daylight for a proper exposure.
We had lights with us, but nearly all of
our work was done in natural daylight,
so we prepped and wrapped in the darkness to maximize our shooting time.
The Alexa was generally set at 800 ISO,
and we'd increase that to 1,600 as we
began to lose the light. But even in the
daytime, we were wide open.
What was your focus in the final
grade? Were there any surprises with
the One-Cam?
Landin: The One-Cam image
was a little less sharp than that of the
Alexa - particularly with the lenses we
used - but in a way that we liked. The
highlights fell off in what felt like a
more filmic way; they didn't feel like
they were clipping even as the camera
was moving past a streetlamp. We had
to get [the look] right on the day
because there wasn't a wealth of [image
information] we could plunder in post.
The One-Cam has its limits, but it got
us action we could never have got otherwise and drove the film's entire visual
style. We did the grading at One of Us.
First, Tom Debenham - who also
served as our second-unit director and
visual effects co-supervisor [with
Dominic Parker] - did an initial pass
on the Alexa footage to bring it into
line with the One-Cam footage, using
a combination of proprietary tools to
generate LUTs and then doing the color
correction in [Baselight] Truelight.
Then, colorist John Claude did the final
grade. The final output was 2K.
I've always felt that cinema is
defined by the impact of the whole, not
by technical definitions. Each medium
has its own character, and, as a cinematographer, I should be open to all
options, including rejecting those on the
shelf. Filmmakers should be able to use
whatever it takes to create that epic and
intoxicating feeling you get when you sit
in the cinema. A low-resolution, pixelridden image can achieve as much as
65mm if the emotional effect is the
same. Under the Skin offered us all the
rare opportunity to work with a director
who demanded we stretch our ideas
about cinema beyond the confines of
what we already knew, and pushed us
beyond the comfort zone of conventional filmmaking.
●
TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa Plus;
One of Us One-Cam
Zeiss Super Speed;
Schneider Cinegon,
Xeno/Xenoplan; Kowa
53
http://www.kinoflo.com
http://www.kinoflo.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
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American Cinematographer - May 2014 - 11
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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
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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
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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
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American Cinematographer - May 2014 - 62
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