American Cinematographer - September 2013 - 49

the middle of the ceiling and a glass
floor offering a view of Earth. “The
challenge was to light to provide shape
and contrast inside an all-white room,”
says Rumak. “With the tops of the
perimeter walls angled toward the
center of the room, and the massive
computer and pink vegetation encompassing the center, there wasn’t much
open ceiling to work with. We silked the
open gaps between the center circle and
perimeter walls and put Image 85s
above that, along the edges, to make it
feel as though the light was coming
from the walls inward. We didn’t want it
to get too toppy. We then shaped by
adding more localized lights with
honeycomb directional hard grids on
Menace arms.”
To suggest the film’s two worlds
colliding, when Max breaks into
Elysium “we started blending our lenses
and went a little more handheld,” says
Opaloch. “When we got into battle
sequences or hand-to-hand combat, we

needed to loosen it up and get inside the
action.”
During shooting, digital-imaging technician Brian Broz backed up all
SSDs to on-set RAID arrays and then
sent the original Redmags to
Technicolor Vancouver, which handled
dailies and LTO backup. Opaloch and
Rhodes would do a basic color correction in Redcine X to wide, medium and
close-up frame grabs and send those
with the data.
Colorist Andrea Chlebak
handled the final color timing at Digital
Film Central in Vancouver. The facility
built a linear OpenEXR architecture so
she could grade using the same native
files as the visual-effects facilities.
(Image Engine Design served as lead.)
The DFC team also built custom
ACES “look” LUTs, not just transform
LUTs for visual effects to preview grade
decisions. Texture, frame rate, noise and
contrast were matched for plates before
they were handed off to the visual-

effects team, and as a result, few
completed mattes from visual effects
were needed to complete the grade. “I
was out of the country on another
project during most of the timing, so I
was only able to sit in on a handful of
sessions with Neill,” says Opaloch.
“ACES was quite new at the time, and
it became part of our workflow after the
timing had already begun. I know the
post team and everyone at Image
Engine was happy with the results.” ●

TECHNICAL SPECS
2.40:1
Digital Capture
Red Epic, Canon EOS 5D MKII
Panavision C Series, E Series,
G Series, C Series Flare,
Primo; Nikkor



http://www.antonbauer.com

American Cinematographer - September 2013

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

Contents
American Cinematographer - September 2013 - Cover1
American Cinematographer - September 2013 - Cover2
American Cinematographer - September 2013 - 1
American Cinematographer - September 2013 - 2
American Cinematographer - September 2013 - Contents
American Cinematographer - September 2013 - 4
American Cinematographer - September 2013 - 5
American Cinematographer - September 2013 - 6
American Cinematographer - September 2013 - 7
American Cinematographer - September 2013 - 8
American Cinematographer - September 2013 - 9
American Cinematographer - September 2013 - 10
American Cinematographer - September 2013 - 11
American Cinematographer - September 2013 - 12
American Cinematographer - September 2013 - 13
American Cinematographer - September 2013 - 14
American Cinematographer - September 2013 - 15
American Cinematographer - September 2013 - 16
American Cinematographer - September 2013 - 17
American Cinematographer - September 2013 - 18
American Cinematographer - September 2013 - 19
American Cinematographer - September 2013 - 20
American Cinematographer - September 2013 - 21
American Cinematographer - September 2013 - 22
American Cinematographer - September 2013 - 23
American Cinematographer - September 2013 - 24
American Cinematographer - September 2013 - 25
American Cinematographer - September 2013 - 26
American Cinematographer - September 2013 - 27
American Cinematographer - September 2013 - 28
American Cinematographer - September 2013 - 29
American Cinematographer - September 2013 - 30
American Cinematographer - September 2013 - 31
American Cinematographer - September 2013 - 32
American Cinematographer - September 2013 - 33
American Cinematographer - September 2013 - 34
American Cinematographer - September 2013 - 35
American Cinematographer - September 2013 - 36
American Cinematographer - September 2013 - 37
American Cinematographer - September 2013 - 38
American Cinematographer - September 2013 - 39
American Cinematographer - September 2013 - 40
American Cinematographer - September 2013 - K1
American Cinematographer - September 2013 - K2
American Cinematographer - September 2013 - K3
American Cinematographer - September 2013 - K4
American Cinematographer - September 2013 - K5
American Cinematographer - September 2013 - K6
American Cinematographer - September 2013 - K7
American Cinematographer - September 2013 - K8
American Cinematographer - September 2013 - K9
American Cinematographer - September 2013 - K10
American Cinematographer - September 2013 - K11
American Cinematographer - September 2013 - K12
American Cinematographer - September 2013 - 41
American Cinematographer - September 2013 - 42
American Cinematographer - September 2013 - 43
American Cinematographer - September 2013 - 44
American Cinematographer - September 2013 - 45
American Cinematographer - September 2013 - 46
American Cinematographer - September 2013 - 47
American Cinematographer - September 2013 - 48
American Cinematographer - September 2013 - 49
American Cinematographer - September 2013 - 50
American Cinematographer - September 2013 - 51
American Cinematographer - September 2013 - 52
American Cinematographer - September 2013 - 53
American Cinematographer - September 2013 - 54
American Cinematographer - September 2013 - 55
American Cinematographer - September 2013 - 56
American Cinematographer - September 2013 - 57
American Cinematographer - September 2013 - 58
American Cinematographer - September 2013 - 59
American Cinematographer - September 2013 - 60
American Cinematographer - September 2013 - 61
American Cinematographer - September 2013 - 62
American Cinematographer - September 2013 - 63
American Cinematographer - September 2013 - 64
American Cinematographer - September 2013 - 65
American Cinematographer - September 2013 - 66
American Cinematographer - September 2013 - 67
American Cinematographer - September 2013 - 68
American Cinematographer - September 2013 - 69
American Cinematographer - September 2013 - 70
American Cinematographer - September 2013 - 71
American Cinematographer - September 2013 - 72
American Cinematographer - September 2013 - 73
American Cinematographer - September 2013 - 74
American Cinematographer - September 2013 - 75
American Cinematographer - September 2013 - 76
American Cinematographer - September 2013 - 77
American Cinematographer - September 2013 - 78
American Cinematographer - September 2013 - 79
American Cinematographer - September 2013 - 80
American Cinematographer - September 2013 - 81
American Cinematographer - September 2013 - 82
American Cinematographer - September 2013 - 83
American Cinematographer - September 2013 - 84
American Cinematographer - September 2013 - 85
American Cinematographer - September 2013 - 86
American Cinematographer - September 2013 - 87
American Cinematographer - September 2013 - 88
American Cinematographer - September 2013 - 89
American Cinematographer - September 2013 - 90
American Cinematographer - September 2013 - 91
American Cinematographer - September 2013 - 92
American Cinematographer - September 2013 - 93
American Cinematographer - September 2013 - 94
American Cinematographer - September 2013 - 95
American Cinematographer - September 2013 - 96
American Cinematographer - September 2013 - 97
American Cinematographer - September 2013 - 98
American Cinematographer - September 2013 - 99
American Cinematographer - September 2013 - 100
American Cinematographer - September 2013 - 101
American Cinematographer - September 2013 - 102
American Cinematographer - September 2013 - 103
American Cinematographer - September 2013 - 104
American Cinematographer - September 2013 - 105
American Cinematographer - September 2013 - 106
American Cinematographer - September 2013 - 107
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American Cinematographer - September 2013 - 109
American Cinematographer - September 2013 - 110
American Cinematographer - September 2013 - 111
American Cinematographer - September 2013 - 112
American Cinematographer - September 2013 - 113
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American Cinematographer - September 2013 - 116
American Cinematographer - September 2013 - 117
American Cinematographer - September 2013 - 118
American Cinematographer - September 2013 - 119
American Cinematographer - September 2013 - 120
American Cinematographer - September 2013 - Cover3
American Cinematographer - September 2013 - Cover4
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