American Cinematographer - December 2014 - 66

◗

Backstage Drama

After locking himself out of the theater during a performance, Riggan dashes through Times Square
toward the theater's front door, in nothing but his Skivvies.

Autodesk's Lustre color-correction
system, "but how do you do that in the
course of a reel with many different
scenes that don't necessarily correspond
with the few existing editorial cuts, and
with only a limited number of secon-

66

daries at your disposal? Any time the
camera pans or the camera angle
changes, it settles on a different 'scene.'
What we needed was a way to bridge
the many color, animation and window
changes seamlessly between those

scenes across entire reels."
The dearth of production editorial cuts in the film meant that Scott and
his team weren't going to be color
timing traditionally from one shot to
the next, but rather within a single long
continuum. "After consulting with my
fellow colorist Charles Bunnag; our DI
technical director, Juan Flores; and with
our DI editor, Bob Schneider, about the
unique challenges of Birdman, we realized that we didn't have to be
constrained by the production editorial
cuts or transitions contained in the film.
Bob helped us figure out a way we could
ignore the existing editorial cut and
generate a separate 'DI cut' based solely
on our DI needs. The existing editorial
cut ultimately ended up having little
bearing on our color timing, unless
production editorial replaced a shot
after that piece had been graded, in
which case we would have to conform
to the new material," says Scott who,
along with senior producer Mike


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American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

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American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
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