American Cinematographer - May 2017 - 29C

Top: Inside a fallen water tower in the desert, Logan helps his erstwhile mentor and father
figure, Professor Charles Xavier (Patrick Stewart). Middle: Logan and Caliban (Stephen Merchant)
see trouble on the horizon. Bottom: The arrival of the enigmatic Laura (Dafne Keen) leads Logan
on an unexpected journey.
Digital Exclusive

May 2017

American Cinematographer

lower down. Basically, it's a little close-up of
her looking out of a window - with
raindrops. I always put raindrops; it makes it
sparkly." As background plates would be
needed to play on the LED screens, "I took a
Sony a7S II and rode down Canal Street on a
bicycle, looking left, looking right, forward,
back."
Another special technique was
required to depict the professor suffering his
telekinetic seizures, which produce a
deafening sound and physically immobilize
everyone nearby. "How do we [visualize] this
resonating, crippling, earsplitting sound?"
Mathieson wondered. "'How do you do
something like that with the camera? [Visualeffects supervisor Chas] Jarrett said, 'Shake
it, shoot it slightly wider, and I'll stabilize it.'"
The result is a twitching, restive motion-blur
effect that relied on a 358-degree shutter
angle, produced manually on an EasyRig by
camera operator David Luckenbach and
finalized by Jarrett's postproduction
techniques.
All Alexa material was recorded in
ArriRaw. Digital-imaging technician Daniele
Colombera explains that the workflow
included dispatching "the pristine camera
mags to Technicolor to create dailies. In order
to preserve data integrity and safety, we used
a Codex Vault 2 for on-set verification and
backup, and the actual camera rolls were
shuttled to the Technicolor On Location
Services mobile lab, which was in New
Orleans, New Mexico and Los Angeles when
we were shooting there."
Colombera used Technicolor DP
Lights 2.0 and Colorfront On-Set Live,
referring to footage on several Sony PVMA250 calibrated displays. "Every time we did
a film break, I exported EMD [Express
Metadata Dailies] folders, which are packets
of information that include all camera
metadata, the grading color pipeline, ASCCDL values, and uncompressed stills for each
camera," Colombera explains. "There are
lots of advantages compared to the standard
ASC-CDL workflow because the dailies
operator is not applying the look based just
off CDL values, but can see exactly what John
and I saw on set, as well as extract each
camera's metadata and settings for
redundancy." Per Mathieson's intentions, the
cameras were set at 800 ISO. "We also rated
the Alexa XTs at 1,000 and 1,280, except for



Table of Contents for the Digital Edition of American Cinematographer - May 2017

Contents
American Cinematographer - May 2017 - Cover1
American Cinematographer - May 2017 - Cover2
American Cinematographer - May 2017 - 1
American Cinematographer - May 2017 - 2
American Cinematographer - May 2017 - Contents
American Cinematographer - May 2017 - 4
American Cinematographer - May 2017 - 5
American Cinematographer - May 2017 - 6
American Cinematographer - May 2017 - 7
American Cinematographer - May 2017 - 8
American Cinematographer - May 2017 - 9
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American Cinematographer - May 2017 - 17
American Cinematographer - May 2017 - 18
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American Cinematographer - May 2017 - 27
American Cinematographer - May 2017 - 28
American Cinematographer - May 2017 - 29
American Cinematographer - May 2017 - 29A
American Cinematographer - May 2017 - 29B
American Cinematographer - May 2017 - 29C
American Cinematographer - May 2017 - 29D
American Cinematographer - May 2017 - 30
American Cinematographer - May 2017 - 31
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American Cinematographer - May 2017 - Cover3
American Cinematographer - May 2017 - Cover4
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