American Cinematographer - July 2015 - 63

cut the shot to a few seconds, but it
adds scale. Doug would always encourage me to do more, to capture any shot
that would make the scene better. He
was tremendously supportive."
Fierberg also points to the
contributions of Janace Tashjian, the
film's "expert postproduction supervisor, who had done the series before
progressing to 'small' projects like
Avatar," he notes. "She set up a workflow where the film was processed and
all of it immediately scanned to 2K
[DPX files]. Thus, from that point on,
the workflow was no different than any
digitally originated movie. [ASC associate] Stefan Sonnenfeld did the
exceptional final grade at Company 3
on DaVinci Resolve." The final resolution is 2K.
The risks of deviating from the
tried-and-true look of the series sometimes weighed heavily on Fierberg. "I
would wake up in the middle of the
night thinking I'd ruined the movie,"

he recalls. "Here we had something
that had worked [on the series], and
I'm personally responsible for doing
something that's different." Relief
came, he says, when preview screenings
generated very positive comments
about the movie's visual style.
Fierberg credits collaboration for
making Entourage's transition to the
big screen the best it could be. "Doug
and I had almost 10 years of shots and
scenes together that we could refer to,"
he says. "The actors were also tremendously helpful in making the shots
work; they all know how to find the
camera. So we're all used to collaborating to make a scene work."
●

TECHNICAL SPECS
2.39:1
3-perf Super 35mm
Arricam Lite
Cooke S4,
Fujinon Premier PL 4K+,
Angenieux Optimo
Kodak Vision3 500T 5219,
200T 5213
Digital Intermediate

63



http://www.theasc.com

American Cinematographer - July 2015

Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
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American Cinematographer - July 2015 - 14
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American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
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American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
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American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
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American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
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