American Cinematographer - August 2018 - 39
pate for a few days of the final grading,"
Spinotti offers. "However, I was confident that Daniele Colombera's contributions on set in the tent would supply
a very evident guideline - and the
collaboration of Steven Scott, Stephane
Ceretti, Peyton Reed and [executive
producer] Victoria Alonso took the
grading to a high level of perfection."
Grading was done with 16-bit
EXR files in Log C, using the ACES
color pipeline and a specialized look
modification transform (LMT), with
the finishing team using Autodesk's
Lustre 2019 on HP Z840 workstations.
The car chase required what
Scott describes as "a VFX approach to
finishing," with the raw footage laying
bare the volatility of San Francisco's
skies. "There may be shots from an
overcast day, but you want to add shadows," Scott says from a grading suite on
the Disney lot. "As the scene goes
through the city, we can add harsh
shadows or bright sunlight that wasn't
there. Sometimes we use a rough kind
of modeling to emulate a building so
that we can use the resulting matte and
color it dark to make a shadow. It gives
a great effect of shadows and light, and
makes you believe it was a sunny day."
Ghost also required careful attention. "When we see her outside, she's
covered in this mask and [monochromatic] outfit, which picks up a little
magenta or purple depending on
whether she's in shadow or light," Scott
explains. "It's about managing her
costume continuity throughout various
environments."
Scott praises the strong artistic
point of view that Spinotti built into the
material, leaving little open to interpretation and making the final color grade
mostly a matter of finessing. "Of
course," Spinotti adds in regard to such
effects-heavy productions, "everything
gets complicated when all the VFX are
added. That [requires] a lot of balancing
between the VFX department and the
original photography. But without any
doubt, the photography, lights, shadows
and colors are still setting the tone and
look of the visual style of the film."
Click here for a selection of lighting
diagrams from the production.
●
TECHNICAL SPECS
2.39:1 and 1.90:1 (Imax)
Digital Capture
Arri Alexa 65, SXT, Mini;
Panavision Millennium DXL;
Red Epic Dragon;
GoPro Hero5 Black
Arri Prime DNA,
Arri/Zeiss Ultra Prime,
Zeiss (custom), Angenieux EZ-1,
Vantage Film Hawk,
Panavision Frazier
39
https://www.ascmag.com/articles/ant_man_and_the_wasp_lighting_diagrams
https://www.ascmag.com/articles/ant_man_and_the_wasp_lighting_diagrams
http://www.kinoflo.com
Table of Contents for the Digital Edition of American Cinematographer - August 2018
Contents
American Cinematographer - August 2018 - Cover1
American Cinematographer - August 2018 - Cover2
American Cinematographer - August 2018 - 1
American Cinematographer - August 2018 - 2
American Cinematographer - August 2018 - Contents
American Cinematographer - August 2018 - 4
American Cinematographer - August 2018 - 5
American Cinematographer - August 2018 - 6
American Cinematographer - August 2018 - 7
American Cinematographer - August 2018 - 8
American Cinematographer - August 2018 - 9
American Cinematographer - August 2018 - 10
American Cinematographer - August 2018 - 11
American Cinematographer - August 2018 - 12
American Cinematographer - August 2018 - 13
American Cinematographer - August 2018 - 14
American Cinematographer - August 2018 - 15
American Cinematographer - August 2018 - 16
American Cinematographer - August 2018 - 17
American Cinematographer - August 2018 - 18
American Cinematographer - August 2018 - 19
American Cinematographer - August 2018 - 20
American Cinematographer - August 2018 - 21
American Cinematographer - August 2018 - 22
American Cinematographer - August 2018 - 23
American Cinematographer - August 2018 - 24
American Cinematographer - August 2018 - 24a
American Cinematographer - August 2018 - 24b
American Cinematographer - August 2018 - 25
American Cinematographer - August 2018 - 26
American Cinematographer - August 2018 - 27
American Cinematographer - August 2018 - 28
American Cinematographer - August 2018 - 29
American Cinematographer - August 2018 - 30
American Cinematographer - August 2018 - 31
American Cinematographer - August 2018 - 32
American Cinematographer - August 2018 - 33
American Cinematographer - August 2018 - 34
American Cinematographer - August 2018 - 35
American Cinematographer - August 2018 - 36
American Cinematographer - August 2018 - 37
American Cinematographer - August 2018 - 38
American Cinematographer - August 2018 - 39
American Cinematographer - August 2018 - 40
American Cinematographer - August 2018 - 41
American Cinematographer - August 2018 - 42
American Cinematographer - August 2018 - 43
American Cinematographer - August 2018 - 44
American Cinematographer - August 2018 - 45
American Cinematographer - August 2018 - 46
American Cinematographer - August 2018 - 47
American Cinematographer - August 2018 - 48
American Cinematographer - August 2018 - 49
American Cinematographer - August 2018 - 50
American Cinematographer - August 2018 - 51
American Cinematographer - August 2018 - 52
American Cinematographer - August 2018 - 53
American Cinematographer - August 2018 - 54
American Cinematographer - August 2018 - 55
American Cinematographer - August 2018 - 56
American Cinematographer - August 2018 - 57
American Cinematographer - August 2018 - 58
American Cinematographer - August 2018 - 59
American Cinematographer - August 2018 - 60
American Cinematographer - August 2018 - 61
American Cinematographer - August 2018 - 62
American Cinematographer - August 2018 - 63
American Cinematographer - August 2018 - 64
American Cinematographer - August 2018 - 65
American Cinematographer - August 2018 - 66
American Cinematographer - August 2018 - 67
American Cinematographer - August 2018 - 68
American Cinematographer - August 2018 - 69
American Cinematographer - August 2018 - 70
American Cinematographer - August 2018 - 71
American Cinematographer - August 2018 - 72
American Cinematographer - August 2018 - 73
American Cinematographer - August 2018 - 74
American Cinematographer - August 2018 - 75
American Cinematographer - August 2018 - 76
American Cinematographer - August 2018 - 77
American Cinematographer - August 2018 - 78
American Cinematographer - August 2018 - 79
American Cinematographer - August 2018 - 80
American Cinematographer - August 2018 - Cover3
American Cinematographer - August 2018 - Cover4
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