American Cinematographer - August 2013 - 74

Post Focus
Deputy Linda
(Natalie
Martinez) and
her fiancé,
Rusty (Josh
Carter), find
themselves
separated by a
transparent
dome that has
suddenly fallen
on their town
in Under the
Dome.

I

A View of the Future
By Iain Blair

Based on the novel by Stephen King, the television series
Under the Dome isn’t just a sci-fi tale about what happens to a small
town in the near future when an invisible, impenetrable barrier
mysteriously surrounds it. It also gives a glimpse into the future of
post in effects-heavy TV productions, and illustrates how new
approaches and workflows are helping cinematographers and post
artists collaborate more closely than ever.
Shot by Cort Fey, ASC on soundstages and locations in Wilmington, N.C., the show is being posted entirely by Encore in Hollywood. “I initially pitched our visual-effects division to the production,” recalls Encore Executive Creative Director Stephan Fleet, who
went on to become the series’ visual-effects supervisor. Amid those
discussions, he also met with Agatha Warren, the associate producer
of post, and helped pitch Mobilab, Encore’s on-set dailies solution.
The production decided to bundle both services and also use a nearset dailies colorist, Scott Cross.
Although Fey is shooting Under the Dome mainly with Arri
Alexas, he has also used a variety of other cameras, including Red
Epics, Canon EOS 5D Mark IIIs and GoPro Hero3s. Footage is taken
to the Mobilab, which is set up in the studio near the production
offices. There, Cross can grade quickly using Colorfront’s Express
Dailies system, and then transmit the dailies to Encore’s offices in Los
Angeles. “We use what we call our Metro link, a MediaXpress
100Mb secure pipeline, so that Level 3 Post, Encore’s sister company,
74

August 2013

gets the dailies, and, of course, we get them to post as well,” says
Fleet. “It’s a completely digital pipeline.”
Another advantage of this system is that the visual-effects
team can get an Avid bin from post and quickly pull the footage.
“We’re also able to keep our CDL lists and carry them through all
the way to visual effects, so we’re able to match the dailies grade
that Cort Fey approved,” adds Fleet. “Cort views the dailies on an
iPad on set and can ask me questions about any of the shots we’re
busy working on, give me some color pointers, or tell me things he’s
planning on doing.”
Fleet has been based in Wilmington for the entirety of the
six-month production. (It’s a 13-episode series.) “The pilot alone had
more than 160 visual-effects shots, some of which were extremely
complicated,” he explains. “The idea was that the visual effects
would then become simpler, but they actually became much bigger
and more exciting.” He estimates that every episode will have “a
minimum of 100 visual-effects shots, a huge amount for network
television. We’re working to get close to a two-week turnaround,
which is pretty ambitious. We literally work to the frame, so
anywhere we can shave precious time off is helpful.”
Fey says it has been “especially helpful to have Stephan close
by every day, as we are forging new ground in visual effects for television. We are able to discuss the work in detail and fine-tune plans
as we go.” The close proximity of the dailies colorist is another “big
plus,” the cinematographer adds. “At our midday break, we send
our data drive over to the color bay at the studio, and Scott is already
transferring as our day ends. That gives me a chance to step into his

American Cinematographer



American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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