American Cinematographer - June 2017 - 79
holes on the set. At the time, there was
only one Oculus prototype available, so
Toby fought hard to get it for us, and I
think we worked it every single day
right up until the end."
The unpredictability of the exterior shooting conditions, combined with
the movie's massive volume of visualeffects shots - Rønning estimates
2,000 - meant the digital-intermediate
process at Deluxe's Company 3 in Santa
Monica, Calif., would play a central
role. Cameron collaborated with senior
colorist and ASC associate member
Stefan Sonnenfeld, a veteran of earlier
Pirates films, who used DaVinci Resolve
version 12.5.4. Finishing artist
Matthew Johnson completed the
conform work on Autodesk's Flame
platform.
Sonnenfeld says, "You can do a
lot of little things with color grading to
really make the live action and visual
effects come together seamlessly in a
complementary way."
Cameron notes that with the
particularly large number of visual
effects on Dead Men Tell No Tales, "final
tweaking with Stefan was very important." As an example, the cinematographer points to a sequence that occurs on
"a beautiful late afternoon," in which
villain Salazar ( Javier Bardem) relates to
Barbossa (Geoffrey Rush) the story of
how, thanks to Jack Sparrow, he was
transformed into a ghost captain. As
Cameron explains, a skip-bleach style
was applied on location for the flashback, "but when we got to the DI and
saw a cut of it, and how beautiful the
visual effects were for that late-afternoon scene, when we cut to the
skipped-bleach footage I realized the
look I established on set for the flashback was not enough. So we went to the
very extreme during the DI, to give it an
even more 'different' kind of feel. Seeing
that come together in the DI was beautiful."
●
TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, Alexa M;
Red Epic Dragon
Panavision Primo V Prime,
Primo Zoom
http://dmglumiere.com
Table of Contents for the Digital Edition of American Cinematographer - June 2017
Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
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American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
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American Cinematographer - June 2017 - 35
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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