American Cinematographer - May 2015 - 16
Cast and crew
prep for a
classroom scene
in which Oscar
demonstrates
his skills.
Given the production's period
setting, Kember says he would have
preferred to shoot film, but he "couldn't
make the numbers work." Instead, he
opted to pair a first-generation Arri Alexa
with Zeiss Super Speed primes, which he
tended to keep between T4 and T5.6. The
camera package was supplied by Arri
Media in Uxbridge. (The rental facility has
since been rebranded as Arri Rental U.K.)
"On the Friday before principal
photography, the producer and I got a van
each and drove to Arri, then headed the
shoot for two days, and on Monday we
took the gear back," says Kember. "It's
funny - you can be on such a high for two
days straight, then you're on the A40 to
Uxbridge, which I think provides a really
16
May 2015
healthy sense of perspective, to be
reminded that sometimes you're just a van
driver!"
Arri, Kember says, was introduced
to the production by Jenkins, who had
worked previously with the rental facility.
"They were very generous and supportive,"
Kember enthuses. "As a filmmaker making
a short film, you try to go to the small places
thinking they'll sympathize, whereas actually it's the big places that can afford to help
you out because they're doing the commercials and features. I'll be going back to Arri."
The crew recorded Arri Log C to
ProRes 4:4:4:4 files via the Alexa's internal
SxS module. "That flexibility is the dream,"
says Kember. "You can go so many different ways in the grade. By committing to
American Cinematographer
something on the day, you do yourself a
disservice, I think. You miss out down the
line on the buzz of knowing you can
conjure up all these different images, and
the ability to stay open as an artist. Any
decision that doesn't have to be made in
the chaos of the shoot is best left until a few
months down the line, once you've slept.
Giving yourself options is what filmmaking
is all about."
Kember monitored the shoot on a
17" Panasonic display, using two feeds
from the camera so he could switch
between viewing Rec 709 and Log C. Digital-imaging technician Harry BennettSnewin used a system based around a Mac
Pro, which was generously donated by
Mission Digital "as [the shoot] happened
over a weekend," Bennett-Snewin says. He
used the Al3xa Data Manager to copy and
validate the data, and Assimilate's Scratch
to QC and generate the offline Avid DNxHD
36 files, which used a standard Rec 709
look-up table. "[Kember] was very busy on
set both directing and shooting, so he was
unable to oversee an on-set grade,"
Bennett-Snewin adds. "We felt, however,
that the Rec 709 look was perfectly suitable
for the dailies."
The edit for Puzzled, Kember recalls,
rubbed shoulders with the greats. "Our
American Cinematographer - May 2015
Table of Contents for the Digital Edition of American Cinematographer - May 2015
Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
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American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
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American Cinematographer - May 2015 - 17
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American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
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American Cinematographer - May 2015 - 24
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American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
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American Cinematographer - May 2015 - 30
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American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
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American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
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American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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