American Cinematographer - November 2016 - 43

shipped to editorial in Los Angeles. "Once
it got into the dailies, it was the typical
workflow," Sherrick says. "It was the
preceding part that was a little unusual.
"[The reason] we did the multiple
steps, and why we didn't stay in Resolve
the whole way, came down to four things,"
Sherrick elaborates. "First, syncing sound
is much easier in NextLab. Second, the
editor required very specific window burns,
which FotoKem tweaked for me and were
not possible to do in Resolve. Third, at the
time, Resolve was unable to export the
'display name' column via ALE so scenetake would [show] up in the Avid; I
worked with Blackmagic to fix this, and as
of version 12.5.2, it does it. Fourth, LTO
support in NextLab is very robust. They
even wrote a tweak for the MLogic
MTape Thunderbolt LTO drive we were
using."
Each night, Davis would head to
the color suite to spend an hour or two
with Sherrick. "My day was 15 hours long,
but it was worth it to me because I was
implementing the director's look," the
cinematographer says. "And it was very
good for Nate, because he was able to cut
together his film out of the Avid to show
to investors. They probably thought the
film looked finished, and that probably
helped him raise money and instill confidence."
On-set color grading not only
previewed the look, it helped Davis test
workarounds for shortfalls in time and
budget. "They didn't have enough money
to own the clothes, to color and age them
the way they wanted," says Davis, who
instead used power windows to lend
costumes an aged patina. Likewise, "the art
department was miniscule," he says. "If
they did get lucky and were able to paint an
interior, I'd be able to grad down the walls
with the DI, instead of having an on-set
painter do it."
Given the large multiracial cast, skin
tones ran the gamut, and each face
reflected light and responded to desaturation differently. Here again, Sherrick and
Davis went in with power windows and
tracking, actor by actor. "If you have multiple white skin tones, some will be affected
by magenta levels that react differently to

Top: The camera frames Turner working the cotton fields. Middle: Davis lines up a shot while
Parker looks on. Bottom: Parker discusses a scene with actors Aunjanue Ellis and Tony Espinosa.

www.theasc.com

November 2016

43


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American Cinematographer - November 2016

Table of Contents for the Digital Edition of American Cinematographer - November 2016

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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