American Cinematographer - June 2015 - 70
Q
Picturing Tomorrow
soft at 4K, so we had to keep a close eye
on things, especially when temperatures
started to vary wildly. When the
temperatures would drop at night - to
below freezing sometimes [on location
in Vancouver] - the focus markings on
the wide lenses went out the door, and
we had to check focus solely on the
monitor. Plus, Claudio likes to motivate
his light sources from practicals and use
realistic interactive light levels for visual
effects. We were at a T1.4 frequently in
those situations, which is always a challenge."
Carr built a workflow methodology for Miranda that allowed the cinematographer to view imagery on a
small, mobile monitoring cart that was
linked by fiber-optic connection to
Carr's main DIT cart. The smaller cart
- which included a Sony BVMF250A Trimaster OLED reference
monitor, two Leader LV5330 test
monitors, two HME wireless base
stations, and basic video routing
controls - could be maneuvered into
tight spaces while Carr stayed back with
his larger cart, from which he provided
a basic color grade, remote camera
control, fiber transmission and receiving, and video routing to VTR and
camera operators and assistants. Carr
typically transferred one take from each
setup to grade on set with Miranda;
then, at the end of each shooting day, he
sent XML metadata grades and reports
to a near-set lab operated by mobile
digital dailies vendor Sixteen19, which
handled archiving and processing.
"All the footage went through my
system," Carr explains. "Second-unit
media was always shuttled to me before
going to the lab, and I inserted each
card recorded from both units into my
machine for checking and downloading
selects. I used Colorfront Express
Dailies, limited only with a curve and
CDL. Secondary corrections were not
easily translatable, and were not recommended going through the dailies
pipeline. Sixteen19 brought an on-set
Colorfront system to handle audio sync,
reports and media generation for all the
various deliverables. Justin Staley was
Top: Young Frank
boards the
transport
between the
World's Fair and
Tomorrowland.
Middle and
bottom: Frank
uses a rocket
pack to travel
through
Tomorrowland.
70
June 2015
American Cinematographer
American Cinematographer - June 2015
Table of Contents for the Digital Edition of American Cinematographer - June 2015
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
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
American Cinematographer - June 2015 - 10
American Cinematographer - June 2015 - 11
American Cinematographer - June 2015 - 12
American Cinematographer - June 2015 - 13
American Cinematographer - June 2015 - 14
American Cinematographer - June 2015 - 15
American Cinematographer - June 2015 - 16
American Cinematographer - June 2015 - 17
American Cinematographer - June 2015 - 18
American Cinematographer - June 2015 - 19
American Cinematographer - June 2015 - 20
American Cinematographer - June 2015 - 21
American Cinematographer - June 2015 - 22
American Cinematographer - June 2015 - 23
American Cinematographer - June 2015 - 24
American Cinematographer - June 2015 - 25
American Cinematographer - June 2015 - 26
American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
American Cinematographer - June 2015 - 31
American Cinematographer - June 2015 - 32
American Cinematographer - June 2015 - 33
American Cinematographer - June 2015 - 34
American Cinematographer - June 2015 - 35
American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
American Cinematographer - June 2015 - 39
American Cinematographer - June 2015 - 40
American Cinematographer - June 2015 - 41
American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
American Cinematographer - June 2015 - 44
American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
American Cinematographer - June 2015 - 48
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American Cinematographer - June 2015 - 50
American Cinematographer - June 2015 - 51
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American Cinematographer - June 2015 - 53
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American Cinematographer - June 2015 - 55
American Cinematographer - June 2015 - 56
American Cinematographer - June 2015 - 57
American Cinematographer - June 2015 - 58
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American Cinematographer - June 2015 - 60
American Cinematographer - June 2015 - 61
American Cinematographer - June 2015 - 62
American Cinematographer - June 2015 - 63
American Cinematographer - June 2015 - 64
American Cinematographer - June 2015 - 65
American Cinematographer - June 2015 - 66
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American Cinematographer - June 2015 - 70
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American Cinematographer - June 2015 - 73
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American Cinematographer - June 2015 - 76
American Cinematographer - June 2015 - 77
American Cinematographer - June 2015 - 78
American Cinematographer - June 2015 - 79
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
American Cinematographer - June 2015 - 81
American Cinematographer - June 2015 - 82
American Cinematographer - June 2015 - 83
American Cinematographer - June 2015 - 84
American Cinematographer - June 2015 - 85
American Cinematographer - June 2015 - 86
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American Cinematographer - June 2015 - 116
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