American Cinematographer - November 2016 - 61

close to discovering what's going on,
Gavin wanted the camera to suddenly
soar a bit and float."
The camera also floats toward
Christian in a scene in his trailer. He
sits meditatively on his bed,
surrounded by his valuable art collection, and lost in thoughts of his task at
hand and whether he can embark on a
romantic relationship with Dana. The
trailer interior was constructed on the
soundstage, and was a tight squeeze for
this dolly shot. "We made the track
narrow-gauge and 'skinnied up' the
dolly," McGarvey says. "Steadicam is
often good for tracking at speed and
going forward or back, but when you
need precision and have a lot of verticals or horizontals, you're worried
about the step, the roll or the tilt. We
wanted an absolutely precise, symmetrical push-in."
Camera negative was processed
at FotoKem. Technicolor scanned the
footage at 2K on a Spirit4K system, and

processed all digital dailies deliverables
and archival copies. Shots requested for
visual effects were re-scanned on an
Arri unit to ensure proper pin registration. Dailies colorist Eric Haase used
Colorfront On-Set Dailies and
Technicolor Dailies software, guided by
reference stills. Avid DNxHD 36 files
were generated for editorial and H.264
QuickTime files for dailies viewing via
Pix. McGarvey evaluated dailies on his
computer.
Digital-intermediate colorist and
ASC associate Mike Sowa spent three
weeks working on the film at
Technicolor's Seward facility in
Hollywood, grading with Autodesk
Lustre (see sidebar, page 54).
McGarvey came in to set up some
looks before leaving for London to
shoot additional photography on Pan,
and participated in the DI when he
returned to Los Angeles to prep
Nocturnal Animals. The filmout was
performed at 2048x1168 resolution

with an Arrilaser recorder.
As much as McGarvey has
wholeheartedly embraced digital
shooting, he enjoyed returning to the
photochemical realm on The
Accountant. "We're in a period where
cinematographers have the choice," he
says. "It's a great position to be in - to
have different media and tools and
entirely different ways of telling
stories."
●

TECHNICAL SPECS
2.39:1
3-perf Super 35mm
Panavision Millennium XL2,
Canon EOS 5D Mark III
Panavision Primo, Canon
Digital Intermediate

61



http://www.kinoflo.com

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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