American Cinematographer - May 2015 - 67

Lloyd was able to review D'Amore's
work remotely while he shot further
episodes. "We'd often stream directly
from Encore Hollywood to a suite at
Encore in New York for Matt," says
D'Amore. "All the gear and monitors in
both locations are calibrated the same."
Executives from Marvel and Netflix
screened final versions for approval with
D'Amore on a Sony XBR-65X950B 65"
Ultra HD monitor in 3840x2160 resolution via a Blackmagic Design Mini
Converter. Final deliverables included
4K DPX masters along with Rec 709
1080p down-conversions.
Abraham views the Netflix
concept of releasing all episodes of a
season simultaneously as the way of the
future. "It's brilliant and the only way to
do it," he says. "When Netflix first
started this distribution model, I worked
with them on Orange Is the New Black.
It's very viewer-friendly; you watch as
much or as little of an entire season
whenever you want.

"As a filmmaker, I find [that the
simultaneous-release strategy] does
present some unique challenges, and you
need to consider the different modes of
consumption," Abraham adds. "What
you do at the end of episode two could
be followed immediately afterwards by
someone watching episode three. So, for
example, you have to be really careful
about reusing locations, because you
don't have that weeklong viewer
memory lapse to fall back on. But overall, I think every broadcaster should do it
this way."
Similarly, Lloyd sees challenges
and benefits in shooting every episode of
an entire season. "Normally, I don't do
full series," he says. "I generally stop after
the first couple of episodes and hand off
to another cinematographer. To see an
arc through 13 hours of moviemaking,
and then feel as great about the last hour
as you do about the first, was a fulfilling
journey.
"It was also incredibly hard for the

crew and me, but ultimately very
rewarding," Lloyd continues. "I give a
huge amount of credit to Marvel's
creative team for backing what we set
out to do. It's easy to say, 'We want
something dark, sinister and adult,' and
then dumb it down to a 'PG' level. They
really went the distance, from the stunt
sequences to the look and even the casting. Throughout all of it, everyone really
believed in what we were doing."
G

TECHNICAL SPECS
1.78:1
Digital Capture
Red Epic Dragon
Arri/Zeiss Master Prime,
Angenieux Optimo

67


http://www.filmo-usa.com http://www.filmo-usa.com

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
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American Cinematographer - May 2015 - 45
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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
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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 - 78
American Cinematographer - May 2015 - 79
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American Cinematographer - May 2015 - 81
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American Cinematographer - May 2015 - 83
American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
American Cinematographer - May 2015 - 86
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American Cinematographer - May 2015 - 92
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American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
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