American Cinematographer - June 2018 - 69

The baby arrives, is wrapped in a
blanket and handed to the actor. The real
baby presents its own challenges, crying
at inopportune moments, but soon
Bahrani is satisfied with a take. The filmmakers move on to another scene in the
same location, in which McClellan
sneaks Montag into her apartment, and
soon thereafter the day draws to a close.
***
Months later, after the picture was
locked, Morgenthau and EFilm colorist
Tim Stipan reviewed the movie in Los
Angeles to discuss the look. Then, along
with Bahrani, they spent a week working
on the digital color grade at Company 3
in New York. The final grade was
finished remotely, with Stipan in L.A.
and Bahrani in New York. Grading with
Blackmagic Design's DaVinci Resolve
and referencing Sony BVM-X300 and
Panasonic EZ1000 monitors, Stipan
made a P3 theatrical version for delivery

to the Cannes Film Festival as well as an
HDR version.
"Kramer was going for a bold
image with rich blacks, and shaping the
image with custom vignettes," the
colorist explains via email. "We also
wanted to retain detail in the fire as best
as we could." Stipan enhanced colors in
the firemen's world and muted some for
the Eels' scenes. The exception was the
lone scene that takes place during the
day, when Montag joins the Eels at a
farmhouse; for this scene - which was
originally planned as a night shoot, but
was forced into daylight due to a tight
production schedule - Stipan boosted
the color contrast.
"For the most part we are 'printing' things down, making [the images]
richer and more nuanced," Morgenthau
adds in a follow-up call. "We're using
lots of windows to darken parts of the
frame, which I pretty much always do,
bringing down walls and maybe bringing up a face. We also added some

16mm grain to shape the flashbacks."
Morgenthau admits he wasn't
sure what to expect joining the production at the 11th hour. "But sometimes
it's the best thing ever," he says. "Ramin
put a tremendous amount of thought
into it, and I brought a different set of
eyes, and we've really melded on it. It's
one of the better experiences I've had in
years. It brought me back to my roots of
independent filmmaking and reinspired my love of cinema."
●

TECHNICAL SPECS
1.78:1
Digital Capture
Panasonic VariCam 35,
GoPro Hero4 Black
Panavision Super Speed,
Ultra Speed, Primo Zoom;
Lensbaby Composer Pro

69



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

Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
American Cinematographer - June 2018 - 10
American Cinematographer - June 2018 - 11
American Cinematographer - June 2018 - 12
American Cinematographer - June 2018 - 13
American Cinematographer - June 2018 - 14
American Cinematographer - June 2018 - 15
American Cinematographer - June 2018 - 16
American Cinematographer - June 2018 - 17
American Cinematographer - June 2018 - 18
American Cinematographer - June 2018 - 19
American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
American Cinematographer - June 2018 - 22
American Cinematographer - June 2018 - 23
American Cinematographer - June 2018 - 24
American Cinematographer - June 2018 - 25
American Cinematographer - June 2018 - 26
American Cinematographer - June 2018 - 27
American Cinematographer - June 2018 - 28
American Cinematographer - June 2018 - 29
American Cinematographer - June 2018 - 30
American Cinematographer - June 2018 - 31
American Cinematographer - June 2018 - 32
American Cinematographer - June 2018 - 33
American Cinematographer - June 2018 - 34
American Cinematographer - June 2018 - 35
American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
American Cinematographer - June 2018 - 39
American Cinematographer - June 2018 - 40
American Cinematographer - June 2018 - 41
American Cinematographer - June 2018 - 42
American Cinematographer - June 2018 - 43
American Cinematographer - June 2018 - 44
American Cinematographer - June 2018 - 45
American Cinematographer - June 2018 - 46
American Cinematographer - June 2018 - 47
American Cinematographer - June 2018 - 48
American Cinematographer - June 2018 - 49
American Cinematographer - June 2018 - 50
American Cinematographer - June 2018 - 51
American Cinematographer - June 2018 - 52
American Cinematographer - June 2018 - 53
American Cinematographer - June 2018 - 54
American Cinematographer - June 2018 - 55
American Cinematographer - June 2018 - 56
American Cinematographer - June 2018 - 57
American Cinematographer - June 2018 - 58
American Cinematographer - June 2018 - 59
American Cinematographer - June 2018 - 60
American Cinematographer - June 2018 - 61
American Cinematographer - June 2018 - 62
American Cinematographer - June 2018 - 63
American Cinematographer - June 2018 - 64
American Cinematographer - June 2018 - 65
American Cinematographer - June 2018 - 66
American Cinematographer - June 2018 - 67
American Cinematographer - June 2018 - 68
American Cinematographer - June 2018 - 69
American Cinematographer - June 2018 - 70
American Cinematographer - June 2018 - 71
American Cinematographer - June 2018 - 72
American Cinematographer - June 2018 - 73
American Cinematographer - June 2018 - 74
American Cinematographer - June 2018 - 75
American Cinematographer - June 2018 - 76
American Cinematographer - June 2018 - 77
American Cinematographer - June 2018 - 78
American Cinematographer - June 2018 - 79
American Cinematographer - June 2018 - 80
American Cinematographer - June 2018 - 81
American Cinematographer - June 2018 - 82
American Cinematographer - June 2018 - 83
American Cinematographer - June 2018 - 84
American Cinematographer - June 2018 - 85
American Cinematographer - June 2018 - 86
American Cinematographer - June 2018 - 87
American Cinematographer - June 2018 - 88
American Cinematographer - June 2018 - 89
American Cinematographer - June 2018 - 90
American Cinematographer - June 2018 - 91
American Cinematographer - June 2018 - 92
American Cinematographer - June 2018 - 93
American Cinematographer - June 2018 - 94
American Cinematographer - June 2018 - 95
American Cinematographer - June 2018 - 96
American Cinematographer - June 2018 - 97
American Cinematographer - June 2018 - 98
American Cinematographer - June 2018 - 99
American Cinematographer - June 2018 - 100
American Cinematographer - June 2018 - 101
American Cinematographer - June 2018 - 102
American Cinematographer - June 2018 - 103
American Cinematographer - June 2018 - 104
American Cinematographer - June 2018 - 105
American Cinematographer - June 2018 - 106
American Cinematographer - June 2018 - 107
American Cinematographer - June 2018 - 108
American Cinematographer - June 2018 - 109
American Cinematographer - June 2018 - 110
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American Cinematographer - June 2018 - 131
American Cinematographer - June 2018 - 132
American Cinematographer - June 2018 - 133
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American Cinematographer - June 2018 - 135
American Cinematographer - June 2018 - 136
American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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