American Cinematographer - August 2016 - 19

Left: Texas
Rangers Marcus
(Jeff Bridges, left)
and Alberto (Gil
Birmingham)
follow the trail of
the brothers'
crime spree.
Below:
Cinematographer
Giles Nuttgens,
BSC (center)
works out his
approach to one
of the
production's bank
locations.

range that covers almost all requirements,
particularly when the camera is mounted on
a Technocrane or Russian Arm.
A small amount of spherical material was shot during the shootout on the 24290mm [T2.8] Optimo zoom, but everything else was anamorphic, and we used
only very light diffusion - 1⁄8 or 1⁄4 Tiffen
Digital Diffusion - to take the edge off the
Alexa images without getting bleeding from
the hot windows.
Were you shooting at the
Alexa's base 800 ISO?
Nuttgens: No, most of the [movie]
was shot at 400, with the exception of the
day exteriors, which were shot at 800
because it was very important to retain all
the detail at the top end of the exposure
curve in the desert. One of the downsides of
400 is that you sometimes subjectively feel a
slight 'muddiness' in the lower shadow
detail, and it's difficult in the DI to pull that
down to a perceivable black with current
digital projectors. But it's a very comfortable
rating for me to work at because I'm used
to 500 on film, so looking with my eye and
understanding how much light is there
means that I don't really need to refer to a
monitor, just occasionally check my light
meter - and I often don't work with a DIT

on set. I feel that I can light an interior by
eye and with T2.8/3.5 on the lens, I'll have
all the information I need.
For the digital grade, you
worked with colorist Corinne
Bogdanowicz at Light Iron in Hollywood. [Ed. note: Bogdanowicz used
Quantel Rio to grade the native ArriRaw files at the 2880x2610 anamorphic
native raster. The final deliverable for
theatrical release was a 2K DCP.] Had
www.theasc.com

the two of you worked together previously?
Nuttgens: I knew of Corinne's
work because she'd done a very good DI on
What Maisie Knew, where she had to work
without my presence. Corinne can look at
the raw image and know how it was
exposed and where it was intended to sit, so
it's a great time with her.
What did you focus on in the
digital grade?
➣
August 2016

19


http://www.theasc.com

American Cinematographer - August 2016

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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