American Cinematographer - August 2014 - 44

◗

Capturing All 4 Seasons

The filmmakers embraced a period-accurate lighting style as they re-created The Four Seasons'
onstage and in-studio performances.

44

August 2014

American Cinematographer

view images sent from a Cobham
Messenger 2 wireless transmitter to a
Cobham receiver. At his station, Derry
could apply a basic CDL grade to the
footage when Stern wanted to examine
the overall tones on set, but for the most
part, Derry says neither Eastwood nor
Stern were particularly interested in onset color grading. The methodology on
set, Derry says, was to be "light, tight
and efficient."
Derry also handled the data
transfer from the Codex XR mags to
G-Raid hard drives, and he created
PDFs with shot names and corresponding thumbnail images for use in editorial. The hard drives were delivered
nightly to the Motion Picture Imaging
facility on the Warner Bros. lot in
Burbank. MPI processed the dailies and
delivered Avid media files for editorial;
Stern and Eastwood generally waited to
view footage until they visited editors
Joel Cox and Gary Roach in the



American Cinematographer - August 2014

Table of Contents for the Digital Edition of American Cinematographer - August 2014

Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
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American Cinematographer - August 2014 - 42
American Cinematographer - August 2014 - 43
American Cinematographer - August 2014 - 44
American Cinematographer - August 2014 - 45
American Cinematographer - August 2014 - 46
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American Cinematographer - August 2014 - 48
American Cinematographer - August 2014 - 49
American Cinematographer - August 2014 - 50
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