American Cinematographer - June 2015 - 89

depending on how you expose them. For
example, the same blue gel will either be
light-blue, medium-blue or dark-blue if
over-, properly or underexposed. I had
shot a bunch of tests with a Canon
[EOS] 5D and finally picked about 20
different colors that I really love - even
when slightly over- or underexposed -
which cover the whole spectrum of
blue-green, yellow-green, yelloworange, orange-red, red-magenta and so
on. So now when I need, say, a blue on
the warm side, i.e. a blue with some red
in it, I just go to my notes and pick the
[Roscolux] 79 Bright Blue - 8-percent
transmission - which is almost violet.
And I also know that I love the [Rosco
E-Colour+] 132 Medium Blue, which is
less violet but still warm. The palette is
quite restrained; in Eden clubs, you see
only three or four combinations, at most
- not like when you go into a real club,
and in the course of 15 minutes you see
a lot of colors. In the submarine at the
beginning, I used 132 Medium Blue and

158 Deep Orange, and at the following
rave, on top of the strobes I had 124
Dark Green and 143 Pale Navy Blue in
the room, 132 in the corridor, and 124
and Lee 735 Velvet Green outside. At
another location, I combined the
[Roscolux] 2003 Storaro Yellow with 52
Light Lavender, as well as Lee 192
Flesh Pink and [E-Colour+] 323 Jade.
I'm a big fan of the Gel Swatch Library
application [by Wybron, Inc.]; I have it
on my iPhone and it replaced all the
color swatches I used to carry around!
Did you do any color grading on
set?
Lenoir: I did some coloring on
set with my DIT, Léonard Rollin. We'll
take maybe two or three LUTs that we
developed at the beginning of production and alter them scene-by-scene -
very small changes. I also use Rec 709
color space to check my exposure,
because it's unforgiving.
What kinds of image adjustments did you make in post?

Lenoir: I was able to get the
colorist I'd worked with before, Peter
Bernaers - a Belgian freelancer. We
[used] DaVinci Resolve in 2K to adjust
contrast, saturation and brightness a bit,
but I'm totally in favor of supporting
what has been done on set. If you made
a mistake, you might be able to correct it
to a certain point in the grade, but if you
got it really wrong you need to acknowledge that, because forcing it will always
end in disaster. I find it more rewarding
to go with what you have - not against
it.
G

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus
Zeiss Super Speed,
Angenieux Optimo

89



http://www.jlfisher.com http://www.jlfisher.com http://www.jlfisher.de

American Cinematographer - June 2015

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Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
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American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
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