American Cinematographer - December 2014 - 67

Dillon, spent several hours walking AC
through the process.
"Let's say the camera starts out
on Michael Keaton and Zach
Galifianakis talking in the hallway,"
Scott continues. "As Zach exits, the
camera pans with Keaton as he goes
into his dressing room. We would do a
'DI cut' in the middle of that pan and
dissolve from the start of the pan to
where the camera settles on Michael. In
effect, we are making our own 'shots' or
'edits' throughout the entire movie
based on where the camera settles,
although they were neither shots nor
edits in the traditional sense.
"If you are in the middle of a pan
that has a lot of motion blur, you can get
away with a lot in a transition from one
color setup to the next," Scott adds. "Say
it takes 25 frames to get from looking
left to looking right. My dissolve will be
25 frames long, during which time we
will be fading out of one color setup and
into the next. We're not fading out of

the shot, because it's all just one long
shot, but fading out of a particular
timing, animation and window setup,
and into the next setup without having
to worry about the mechanics of how to
transition the various timings and
windows. That speeds things up
tremendously, and allows the cinematographer to keep the DI process
intuitive and free-flowing."
Birdman proved to be a case of
leaping into the unknown for all
involved. Looking back at the experience months later, Lubezki notes, "We
arrived on the set every morning and we
never stopped working. The problems
we encountered were so specific to this
film that there was nobody I could call
to seek advice. We had to discover all of
it ourselves."
‚óŹ

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa M, Alexa XT
Leica Summilux-C,
Arri/Zeiss Master Prime

67



American Cinematographer - December 2014

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

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
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American Cinematographer - December 2014 - 11
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American Cinematographer - December 2014 - 14
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American Cinematographer - December 2014 - 66
American Cinematographer - December 2014 - 67
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American Cinematographer - December 2014 - 112
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