American Cinematographer - October 2013 - 88
Above: Notarile finds an angle. Top right: Stokes surveys a
crime scene. Bottom right: The shooter in a diner massacre
(Yves Bright) fires his weapon in this frame grab from one of
the show’s flashback sequences.
gives the producers the option to make
changes.”
At Encore, the show’s dailies are
transferred into a proprietary color corrector
developed by the company. Altman grades
the material using Notarile’s reference LUT,
and the corrections are then exported in the
form of an ASC CDL. The cinematographer
explains, “Even though Jason is working
mainly in primaries and therefore cannot
achieve our final intended look, I try to
ensure that my dailies are as close as possible to the vision I established with the director in prep, and that they look as beautiful
as possible. They will be looked at over and
over again in the editing room for weeks
and weeks, with every producer sitting in at
one point or another before the picture is
locked.”
In the Avid online session, also done
at Encore, the editor imports the Alexa’s
original camera files, along with native file
formats from the other cameras used occa88
October 2013
sionally, into a single project. When the
online edit is complete, the entire project is
exported as uncompressed 10-bit RGB MXF
media for final color correction, which is
done by Encore’s Paul Westerbeck on a
Nucoda Film Master. Westerbeck starts his
work by putting up the Arri K1S1 LUT.
“Then,” says Notarile, “he just goes with his
instincts. Paul is a genius! He is my final
paintbrush for my final painting, my heart
and mind!
“CSI used to be finished on a
DaVinci 2K, but they changed to the
Nucoda because the DaVinci couldn’t use
plug-ins, such as streaks, film grain and
grain reduction, which are very important to
the look of the show,” he continues. “By
understanding these technologies and their
capabilities, I can create with Paul very interesting and evocative looks in the final color,
and be completely free and non-committal
during the shooting process.”
Working with a Panasonic 300 Pro
American Cinematographer
Plasma monitor, Notarile and Westerbeck
can “finetune with the most detailed brush
strokes,” says the cinematographer. “I love
this stage, because I can truly see the result
of my efforts.”
Summing up, Notarile observes that
the difference between “baking it in and
committing” and “using the telecine suite
as an arsenal of extra tools up your sleeve”
is a matter of mindset. “With film, I would
always try to capture the look on the negative, but digital is a very different medium,
and it requires a different way of thinking
and executing. Once you accept that, the
creative muscle of your imagination will be
re-energized. Filmmaking is a perpetual
tweaking of one’s own sensibilities.” ●
American Cinematographer - October 2013
Table of Contents for the Digital Edition of American Cinematographer - October 2013
Contents
American Cinematographer - October 2013 - Cover1
American Cinematographer - October 2013 - Cover2
American Cinematographer - October 2013 - 1
American Cinematographer - October 2013 - 2
American Cinematographer - October 2013 - Contents
American Cinematographer - October 2013 - 4
American Cinematographer - October 2013 - 5
American Cinematographer - October 2013 - 6
American Cinematographer - October 2013 - 7
American Cinematographer - October 2013 - 8
American Cinematographer - October 2013 - 9
American Cinematographer - October 2013 - 10
American Cinematographer - October 2013 - 11
American Cinematographer - October 2013 - 12
American Cinematographer - October 2013 - 13
American Cinematographer - October 2013 - 14
American Cinematographer - October 2013 - 15
American Cinematographer - October 2013 - 16
American Cinematographer - October 2013 - 17
American Cinematographer - October 2013 - 18
American Cinematographer - October 2013 - 19
American Cinematographer - October 2013 - 20
American Cinematographer - October 2013 - 21
American Cinematographer - October 2013 - 22
American Cinematographer - October 2013 - 23
American Cinematographer - October 2013 - 24
American Cinematographer - October 2013 - 25
American Cinematographer - October 2013 - 26
American Cinematographer - October 2013 - 27
American Cinematographer - October 2013 - 28
American Cinematographer - October 2013 - 29
American Cinematographer - October 2013 - 30
American Cinematographer - October 2013 - 31
American Cinematographer - October 2013 - 32
American Cinematographer - October 2013 - 33
American Cinematographer - October 2013 - 34
American Cinematographer - October 2013 - 35
American Cinematographer - October 2013 - 36
American Cinematographer - October 2013 - 37
American Cinematographer - October 2013 - 38
American Cinematographer - October 2013 - 39
American Cinematographer - October 2013 - 40
American Cinematographer - October 2013 - 41
American Cinematographer - October 2013 - 42
American Cinematographer - October 2013 - 43
American Cinematographer - October 2013 - 44
American Cinematographer - October 2013 - 45
American Cinematographer - October 2013 - 46
American Cinematographer - October 2013 - 47
American Cinematographer - October 2013 - 48
American Cinematographer - October 2013 - 49
American Cinematographer - October 2013 - 50
American Cinematographer - October 2013 - 51
American Cinematographer - October 2013 - 52
American Cinematographer - October 2013 - 53
American Cinematographer - October 2013 - 54
American Cinematographer - October 2013 - 55
American Cinematographer - October 2013 - 56
American Cinematographer - October 2013 - 57
American Cinematographer - October 2013 - 58
American Cinematographer - October 2013 - 59
American Cinematographer - October 2013 - 60
American Cinematographer - October 2013 - 61
American Cinematographer - October 2013 - 62
American Cinematographer - October 2013 - 63
American Cinematographer - October 2013 - 64
American Cinematographer - October 2013 - 65
American Cinematographer - October 2013 - 66
American Cinematographer - October 2013 - 67
American Cinematographer - October 2013 - 68
American Cinematographer - October 2013 - 69
American Cinematographer - October 2013 - 70
American Cinematographer - October 2013 - 71
American Cinematographer - October 2013 - 72
American Cinematographer - October 2013 - 73
American Cinematographer - October 2013 - 74
American Cinematographer - October 2013 - 75
American Cinematographer - October 2013 - 76
American Cinematographer - October 2013 - 77
American Cinematographer - October 2013 - 78
American Cinematographer - October 2013 - 79
American Cinematographer - October 2013 - 80
American Cinematographer - October 2013 - 81
American Cinematographer - October 2013 - 82
American Cinematographer - October 2013 - 83
American Cinematographer - October 2013 - 84
American Cinematographer - October 2013 - 85
American Cinematographer - October 2013 - 86
American Cinematographer - October 2013 - 87
American Cinematographer - October 2013 - 88
American Cinematographer - October 2013 - 89
American Cinematographer - October 2013 - 90
American Cinematographer - October 2013 - 91
American Cinematographer - October 2013 - 92
American Cinematographer - October 2013 - 93
American Cinematographer - October 2013 - 94
American Cinematographer - October 2013 - 95
American Cinematographer - October 2013 - 96
American Cinematographer - October 2013 - 97
American Cinematographer - October 2013 - 98
American Cinematographer - October 2013 - 99
American Cinematographer - October 2013 - 100
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American Cinematographer - October 2013 - Cover4
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