American Cinematographer - August 2019 - 46

Back in Time

Working on location in Malibu's Puerco Canyon,
Richardson operates an Oculus-supported camera
remotely from inside a four-seat Tomcar provided
by Cinemoves. Shots of DiCaprio from this
sequence were inserted into an actual TV show of
the period, "so the location, truck and weather all
had to match the scene shot 50 years prior," gaffer
Ian Kincaid explains.

46

print from that, which you saw in
Cannes. DCPs will also be made from
the DI.
What Kodak stocks were used?
Lucas: Bob shot with [Kodak
Vision3] 5219 500T and 5213 200T,
along with some Double-X black-andwhite [for simulated television footage
shown in the 1.33:1 aspect ratio]. We
did our dailies and prints on Vision
2383, and our film-out on [Vision3]
2254.
How did you and Bob arrive at
the movie's distinctive look?
Lucas: The idea was to be very
close to the original negative. The
dailies were printed directly from
negative to the positive print. The
unique, vintage quality came from
Bob's lighting and, of course, the
production design.
Bob is very demanding for the
August 2019

dailies - so demanding that, afterwards, when we got to the DI, it went
pretty easily.
The film has an amazing saturation.
Lucas: That comes partly from
the print stock, 2383. Kodak came out
with it about 20 years ago. This print
film is very colorful, and the primary
colors are really separated and very
pronounced. It's almost astounding.
You get true red, green and blue - and
Quentin told me, 'When I see those
colors, that's when I know it's film.'
Color separation means you
can get purer colors?
Lucas: Yes, exactly. On the print,
when you do a neutral color timing
with red skin tone, you get back to
primary colors. Maybe it's this separation of color that helps give the feeling
of the 1960s. At the same time, we
ASC 100th Anniversary

wanted the white in the image to be
neutral.
The skin tones are striking,
almost painterly.
Lucas: Yes, but also the faces are
modeled like they are in film. They
aren't flat, like you often see today.
They are three-dimensional.
The problem of digital today is
that when there is no information, it
gives you black-and-white, which is
ugly. The advantage of film is that,
when there is no information, it gives
you color. It gives you something in
the shadows - some blue, some cyan.
The film also has an amazing
contrast - and very solid, sometimes
impenetrable blacks.
Lucas: Yes, the bottom of the
curve is dense. We had a quality of
blacks on the print that was sumptuous. I think that in digital we want to
see so much into the blacks that we
lose the character of the image.
People talk about resolution, but
what really counts is contrast - and
we lost contrast 20 years ago with digital projection, where the blacks are



American Cinematographer - August 2019

Table of Contents for the Digital Edition of American Cinematographer - August 2019

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American Cinematographer - August 2019 - ACM
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