American Cinematographer - May 2016 - 70

◗

Family, Friends and Infection

From left:
Director
Chris Grismer,
Hancher and
cinematographer
John Smith
survey a scene.

shadow detail and clamped down on
the highlights. He also overexposed the
5,000 a bit to get more detail in the
shadows. Smith created his own LUTs
for different looks, but he regrets not
having used the VariCam 35's proxy
recording feature, which he could have
used as his own dailies with a LUT
applied.

70

Containment is color-graded at
Technicolor in Los Angeles by senior
colorist Stephen P. Arkle, a.k.a.
"Sparkle." According to Smith,
Technicolor sends ProRes files, which
he reviews on a high-quality monitor
before sending back his notes.
"Shooting in V-Log gives us the flexibility to adjust the image in post," Smith

explains. "You could pull out a little bit
more detail in deep shadows without
losing your highlights. Shooting with
available light on night exteriors was a
challenge, and V-Log allowed us to
adjust the colors to more closely match
the content of the scene." " B e c a u s e
of the capabilities of the camera," Wages
notes, the cinematographers "could leave
some corrections to the color grade
instead of wasting time fixing it on the
set."
"If there's something that's a little
too exposed in the foreground and
there's nobody crossing over," Smith
explains, "I knew I could throw a little
exposure grad on it to knock it down.
Instead of spending 10 minutes on set
waiting for that to happen, we would
just let that go, knowing we could fix it
later in the grade."
- Neil Matsumoto
●



http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - May 2016

Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
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American Cinematographer - May 2016 - 11
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American Cinematographer - May 2016 - 14
American Cinematographer - May 2016 - 15
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American Cinematographer - May 2016 - 18
American Cinematographer - May 2016 - 19
American Cinematographer - May 2016 - 20
American Cinematographer - May 2016 - 21
American Cinematographer - May 2016 - 22
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American Cinematographer - May 2016 - 25
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American Cinematographer - May 2016 - 30
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American Cinematographer - May 2016 - 33
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American Cinematographer - May 2016 - 35
American Cinematographer - May 2016 - 36
American Cinematographer - May 2016 - 37
American Cinematographer - May 2016 - 38
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American Cinematographer - May 2016 - 40
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American Cinematographer - May 2016 - 42
American Cinematographer - May 2016 - 43
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American Cinematographer - May 2016 - 45
American Cinematographer - May 2016 - 46
American Cinematographer - May 2016 - 47
American Cinematographer - May 2016 - 48
American Cinematographer - May 2016 - 49
American Cinematographer - May 2016 - 50
American Cinematographer - May 2016 - 51
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American Cinematographer - May 2016 - 53
American Cinematographer - May 2016 - 54
American Cinematographer - May 2016 - 55
American Cinematographer - May 2016 - 56
American Cinematographer - May 2016 - 57
American Cinematographer - May 2016 - 58
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American Cinematographer - May 2016 - 60
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American Cinematographer - May 2016 - 70
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American Cinematographer - May 2016 - Cover3
American Cinematographer - May 2016 - Cover4
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