American Cinematographer - May 2015 - 64

Q

Without Fear
"We had a 100-watt frosted household bulb mounted at 90 degrees on the
side of the wall right at the front entryway
and a fluorescent housing over the door at
the back fitted with a Mac Tech LED
tube," Lloyd adds. "That enabled a
smooth ramp from 0 to 100 percent on
both the fluorescent and incandescent
units at either end of the hall. Our board
operator, Jim McNeal, looked like he was
playing a perfectly timed game of PacMan, riding two faders as the camera
panned up and down [the hallway]. It's a
really incredible sequence to watch when
you think about all the mechanics, and yet
the moviemaking is completely invisible."
Lloyd chose to operate the complex move
himself, which the crew nailed in a single
day in seven takes after plenty of
rehearsal.
Colorist Kevin Krout supervised
most of the series' dailies at Encore in
New York after taking over for Rob Bell
and Lloyd's longtime colorist, Andrew
Geary. Lloyd communicated his desired
look for specific scenes by grading stills in
Photoshop on his laptop. "We punched
out a pretty unique look for the show,"
recalls Krout. "I'd take the raw 4K Red
R3D files into my system via Encore's
SAN, apply a LUT that Matt created
previously for use with Red Epic shows,
and color dailies based on Matt's stills.
"From the graded dailies, we delivered Avid DNx36 1080p files," Krout
continues. "We also uploaded H.264
QuickTime files at 720p to the Pix dailies
review system. We usually received raw
footage from the production between 10
p.m. and midnight and had to deliver
dailies by the next morning." Krout's
hardware included a Pioneer Kuro plasma
monitor in one of Encore's calibrated
rooms and a Red Rocket-X PCI card to
help speed the processing of R3D files.
"We're at a strange point where
many productions seem to ignore the role
of the DIT and dailies," Lloyd notes.
"They just apply Rec 709 as a preset and
figure it all out in post. I think doing it
that way takes away some consistency and
diminishes the process. It is much more
cost- and time-effective for production to
get the look there in the dailies; it greatly

Top and bottom:
Blinded as a
young boy,
Murdock uses his
heightened
remaining senses
to fight crime on
the streets of
Hell's Kitchen.
Middle: Murdock
battles Piotr
(Paul Mann).

64

May 2015

American Cinematographer



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
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
American Cinematographer - May 2015 - 16
American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
American Cinematographer - May 2015 - 44
American Cinematographer - May 2015 - 45
American Cinematographer - May 2015 - 46
American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
American Cinematographer - May 2015 - 51
American Cinematographer - May 2015 - 52
American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
American Cinematographer - May 2015 - 56
American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
American Cinematographer - May 2015 - 59
American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
American Cinematographer - May 2015 - 64
American Cinematographer - May 2015 - 65
American Cinematographer - May 2015 - 66
American Cinematographer - May 2015 - 67
American Cinematographer - May 2015 - 68
American Cinematographer - May 2015 - 69
American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
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American Cinematographer - May 2015 - 73
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American Cinematographer - May 2015 - 81
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American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
American Cinematographer - May 2015 - 86
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American Cinematographer - May 2015 - 88
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American Cinematographer - May 2015 - 90
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American Cinematographer - May 2015 - 92
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American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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