American Cinematographer - July 2017 - 41

scenes shot on green," Sinfield notes.
London lab I Dailies (now Kodak
Film Lab London) processed the negative. Dailies were produced at Company
3 in London, where film was scanned
into 2048x1556 DPX files with an
Arriscan unit. James Slattery colored
dailies using Colorfront's On-Set Dailies
system, and Jensen dropped in every
morning during the U.K. shoot.
The DI was performed primarily
at Company 3's Santa Monica facility,
with some work completed in London,
and with Jensen present for most of the
process. ASC associate member Stefan
Sonnenfeld, senior colorist at Deluxe's
Company 3, performed the final grade
with Blackmagic Design's DaVinci
Resolve 12.5 for Linux with BMD
control. The online edit was completed
in Linux-based Autodesk Flame. Dolby
Vision, 3D and 3D Imax versions were
struck, although Jenkins and Jensen say
this didn't factor into their framing
choices.

Sonnenfeld says the basic looks
- lush green and blue for Themyscira,
cooler cyan for London and Belgium -
"came from the photography and
production design and the visual effects.
A lot of the work we did in the DI was
about isolating elements throughout the
frame and pushing them in the direction of that vision. Also, as we always
do, there was a lot of subtle fine-tuning
to make the live-action and effects
come together seamlessly."
Jensen concludes, "Shooting a
Wonder Woman origin story was a
tremendous opportunity for me,
because she is a pop-culture icon. The
bar was set very high by Richard
Donner's Superman [AC Jan. '79] and
[Christopher Nolan's] Batman Begins
[AC June '05]. We felt a lot of pressure
to live up to those. I'm happy with the
results, and hopefully the world likes it
as well."
●

TECHNICAL SPECS
2.39:1
4-perf Super 35mm
Panavision Panaflex Millennium XL2;
Arriflex 435, 235; Arri Alexa 65,
Alexa Mini, Alexa SXT;
Vision Research Phantom Flex4K
Panavision Primo Prime,
Primo Zoom
Kodak Vision3 500T 5219,
250D 5207, 50D 5203
Digital Intermediate

41



http://www.k5600.com/onelight

Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
American Cinematographer - July 2017 - 61
American Cinematographer - July 2017 - 62
American Cinematographer - July 2017 - 63
American Cinematographer - July 2017 - 64
American Cinematographer - July 2017 - 65
American Cinematographer - July 2017 - 66
American Cinematographer - July 2017 - 67
American Cinematographer - July 2017 - 68
American Cinematographer - July 2017 - 69
American Cinematographer - July 2017 - 70
American Cinematographer - July 2017 - 71
American Cinematographer - July 2017 - 72
American Cinematographer - July 2017 - 73
American Cinematographer - July 2017 - 74
American Cinematographer - July 2017 - 75
American Cinematographer - July 2017 - 76
American Cinematographer - July 2017 - 77
American Cinematographer - July 2017 - 78
American Cinematographer - July 2017 - 79
American Cinematographer - July 2017 - 80
American Cinematographer - July 2017 - 81
American Cinematographer - July 2017 - 82
American Cinematographer - July 2017 - 83
American Cinematographer - July 2017 - 84
American Cinematographer - July 2017 - 85
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American Cinematographer - July 2017 - 87
American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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