American Cinematographer - September 2021 - 38

NATIONAL DEFENSE
Tech Specs:
2.11:1, 2.39:1 (for non-Imax screens)
Cameras: Arri Alexa 65
Lenses: Arri Prime 65, Prime 65 S
A greenscreen-style background was constructed
on a soundstage to help create a recurring motif of
an ancient warrior on horseback.
of the story, as he felt that the central themes explored were universal
and should embody a more contemporary look. In the production's visual
guide, he wrote that the film " should have the texture and color
of modern paintings, such as Picasso's work from his Blue Period and
the works of Edvard Munch and Edward Hopper, with rich highlights
and shadow levels. I will lower the color saturation and strengthen the
greens, blues, yellows and blacks separately. On the whole, [I will] let it
be a cold and modern composition. "
In order to achieve this goal, Cao went through an extensive previsualization
process where, with the aid of Blackmagic Design DaVinci
Resolve, he developed a series of custom-made LUTs that served as a
precise visual guide for the entire crew once shooting commenced. " We
ended up using four LUTs - one for the day, one for the night, one for
cloudy daytime scenes, and another for indoor night scenes. " The difference
between each is subtle. " The biggest change is in the contrast
levels, " Cao says, adding, " our daytime LUTs were more saturated than
our nighttime ones. "
Cao notes that using the LUTs while shooting allows the overall color
scheme to be more cohesively developed. " [It can impact] the clothing
and the makeup, for example - or what shade of red the blood should
be, " he says. " All of that [can be better determined when using] the LUTs. "
This allowed Cao to modify the color grade more precisely during postproduction.
The color-correction process typically takes about 15 days
38 / SEPTEMBER 2021
in China, but Cao notes with gratitude that he was given 50 days for this
production. " We [ultimately lowered] the overall saturation, and then we
used more yellow in the highlights and more blue in the shadows. [The
movie] ended up having a really subjective look " - nearly identical to
what he had originally envisioned.
Wider Perspective
Cao considers The Eight Hundred a testament to the kind of future he
sees for contemporary Chinese cinema. Reflecting back on the late '80s
and early '90s, when Fifth Generation directors re-announced China's
presence in world cinema, Cao says, " When we were all starting out, we
looked up to Chen Kaige and Zhang Yimou, and of course we had outstanding
DPs like Gu Changwei, who shot Farewell My Concubine [1993],
but I think the visual experience these films gave us was very Chinese.
So as a cinematographer from my generation, I hope to shoot the kind
of motion picture that possesses an international sense. " For Cao, The
Eight Hundred - which has grossed more than $460 million worldwide
- is " of course a Chinese film, but it should be able to have an effect on
people all over the world.
" After our movie was released, " Cao adds, " the Sihang Warehouse in
Shanghai became a place where many people went to lay flowers " commemorating
the defenders, known as the Eight Hundred Heroes. " Many
people went there every day, which really moved us as filmmakers. "
American Cinematographer - September 2021

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