American Cinematographer - September 2017 - 65
provided by bouncing 6Ks into three
12'x12' Griffolyn frames positioned
about 350' from the actors, and staggered 100' apart. "Using the combination of the crane-mounted Vari-Lites
and the 12-by-12 bounces, I was able to
give the field a naturalistic-looking
graduation in density," the cinematographer notes. "Some of the lights were
aimed at trees, and some across sections
of the open field."
While dailies were viewed by
O'Loughlin on DAX, and the next day
as 1080p MOV files on thumb-drives,
the cinematographer preferred the viewing of assembled sequences with
Hughes. "Throughout principal photography, our wonderful editor, Jake
Roberts, was putting together assemblies
that Pat and I would watch to ensure we
were on the right track," O'Loughlin
reports. "These assemblies are, in my
view, a more powerful tool for the director-cinematographer working relationship than watching straight dailies."
Color timing was performed on
FilmLight's Baselight by Asa Shoul,
senior colorist at Molinare, London.
"We spent a week doing an entire pass
at the film, and then a day of touchups," O'Loughlin relates. "Asa's really
quick and has a great eye. Much of the
work on color control had been done in
preproduction through the production
design - as Pat, Russell and I had long
discussions imagining the film as blackand-white and then adding the palette
we wanted to see. I believe that a paredback color palette is a shortcut to
sophisticated production values. We
took a lot of red out of the first half of
the film; it begins with an overall cool
tone - blues and greens with a hint of
amber here and there. As the relationship between Bryce and Kincaid
progresses, the palette becomes
warmer."
In a final reflection, O'Loughlin
cites the "United Nations" of crewmembers "as one of the great delights of
shooting this film. I had an English Acamera operator, Stuart Howell; South
African first AC, Damien Walsh;
Bulgarian B-camera operator, Ivo
Peitchev [BAC]; English gaffer, Shawn
White; Bulgarian gaffer, Hristo Idakiev;
English and Bulgarian electrics teams;
an Irish grips team in England, [headed
by key grip] John Connon; and Ian
Bird, an Australian key grip in Bulgaria.
There was a great can-do attitude." ●
TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, Mini; Panasonic GH4;
Red Epic Dragon; GoPro Hero4
Hawk V-Lite Vintage '74,
Arri/Zeiss Ultra Prime,
Angenieux Optimo, Canon EF,
Samyang Optics
65
http://www.jlfisher.de
http://www.jlfisher.com
Table of Contents for the Digital Edition of American Cinematographer - September 2017
Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
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American Cinematographer - September 2017 - Cover3
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