American Cinematographer - December 2016 - 20

While visual effects were an integral
part of the movie, Gomoll strove to achieve
as much of the look in-camera as possible.
Accordingly, all of the screens seen in the
short - with the one exception of a wallsized hexagonal screen - displayed motion
graphics live on set, complementing
Gomoll's lighting and giving the actors a real
image with which to interact. The vast
majority of these graphics were in fact
created by Heimer, who, Gomoll notes, is a
talented visual-effects artist in his own right.
Out of the production's 12 shooting
days, two took place at a studio - located
at the film school - for greenscreen and setextension work, including CG-heavy shots of
a cavernous subterranean gallery that stores
thousands of cryo-coffins. In the studio, the
art department built a section of the bridge
that connects one end of the cavern to a
control center in the middle. The visualeffects team, which consisted of film
students, then created the rest of the environment, using The Foundry's Nuke for
compositing and Maxon's Cinema 4D for 3D
modeling.
Final color grading for the project was
performed in Assimilate Scratch by colorist
Peter Hacker. Gomoll notes that Hacker - a
freelance colorist and former Filmakademie
Baden-Wurttemberg student - did a
superb job and that he had complete trust in
the colorist to achieve the desired look. "The
grade was performed in full HD and the final
deliverables were in ProRes, H.264 for Internet and a DCP for festivals," Gomoll says. As
the cinematographer was not available to
attend the grading sessions, he contributed
his input to the colorist and director
remotely.
Gomoll cites Kryo as an exciting
opportunity to play with science-fiction
elements that he loves. Indeed, with a story
that offered everything from cryogenics and
robotics to cloning and artificial intelligence,
about the only tropes the project didn't
explore were aliens and spaceships. "Next
time!" Gomoll concludes with a laugh.
To watch the trailer for Kryo, visit
●
vimeo.com/frederickgomoll/kryo.
Top: Cinematographer Frederick Gomoll captures a POV shot from inside the cryo-coffin.
Middle: The crew preps a scene in which David wakes from his cryogenic slumber.
Bottom, from left: Gomoll, 1st AC Dino von Wintersdorff, prop artist Melanie Peter and
key grip Jonas Neitzel test a POV shot.

20

December 2016

American Cinematographer



http://www.vimeo.com/frederickgomoll/kryo

American Cinematographer - December 2016

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

Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
American Cinematographer - December 2016 - 8
American Cinematographer - December 2016 - 9
American Cinematographer - December 2016 - 10
American Cinematographer - December 2016 - 11
American Cinematographer - December 2016 - 12
American Cinematographer - December 2016 - 13
American Cinematographer - December 2016 - 14
American Cinematographer - December 2016 - 15
American Cinematographer - December 2016 - 16
American Cinematographer - December 2016 - 17
American Cinematographer - December 2016 - 18
American Cinematographer - December 2016 - 19
American Cinematographer - December 2016 - 20
American Cinematographer - December 2016 - 21
American Cinematographer - December 2016 - 22
American Cinematographer - December 2016 - 23
American Cinematographer - December 2016 - 24
American Cinematographer - December 2016 - 25
American Cinematographer - December 2016 - 26
American Cinematographer - December 2016 - 27
American Cinematographer - December 2016 - 28
American Cinematographer - December 2016 - 29
American Cinematographer - December 2016 - 30
American Cinematographer - December 2016 - 31
American Cinematographer - December 2016 - 32
American Cinematographer - December 2016 - 33
American Cinematographer - December 2016 - 34
American Cinematographer - December 2016 - 35
American Cinematographer - December 2016 - 36
American Cinematographer - December 2016 - 37
American Cinematographer - December 2016 - 38
American Cinematographer - December 2016 - 39
American Cinematographer - December 2016 - 40
American Cinematographer - December 2016 - 41
American Cinematographer - December 2016 - 42
American Cinematographer - December 2016 - 43
American Cinematographer - December 2016 - 44
American Cinematographer - December 2016 - 45
American Cinematographer - December 2016 - 46
American Cinematographer - December 2016 - 47
American Cinematographer - December 2016 - 48
American Cinematographer - December 2016 - 49
American Cinematographer - December 2016 - 50
American Cinematographer - December 2016 - 51
American Cinematographer - December 2016 - 52
American Cinematographer - December 2016 - 53
American Cinematographer - December 2016 - 54
American Cinematographer - December 2016 - 55
American Cinematographer - December 2016 - 56
American Cinematographer - December 2016 - 57
American Cinematographer - December 2016 - 58
American Cinematographer - December 2016 - 59
American Cinematographer - December 2016 - 60
American Cinematographer - December 2016 - 61
American Cinematographer - December 2016 - 62
American Cinematographer - December 2016 - 63
American Cinematographer - December 2016 - 64
American Cinematographer - December 2016 - 65
American Cinematographer - December 2016 - 66
American Cinematographer - December 2016 - 67
American Cinematographer - December 2016 - 68
American Cinematographer - December 2016 - 69
American Cinematographer - December 2016 - 70
American Cinematographer - December 2016 - 71
American Cinematographer - December 2016 - 72
American Cinematographer - December 2016 - 73
American Cinematographer - December 2016 - 74
American Cinematographer - December 2016 - 75
American Cinematographer - December 2016 - 76
American Cinematographer - December 2016 - 77
American Cinematographer - December 2016 - 78
American Cinematographer - December 2016 - 79
American Cinematographer - December 2016 - 80
American Cinematographer - December 2016 - 81
American Cinematographer - December 2016 - 82
American Cinematographer - December 2016 - 83
American Cinematographer - December 2016 - 84
American Cinematographer - December 2016 - 85
American Cinematographer - December 2016 - 86
American Cinematographer - December 2016 - 87
American Cinematographer - December 2016 - 88
American Cinematographer - December 2016 - 89
American Cinematographer - December 2016 - 90
American Cinematographer - December 2016 - 91
American Cinematographer - December 2016 - 92
American Cinematographer - December 2016 - 93
American Cinematographer - December 2016 - 94
American Cinematographer - December 2016 - 95
American Cinematographer - December 2016 - 96
American Cinematographer - December 2016 - 97
American Cinematographer - December 2016 - 98
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American Cinematographer - December 2016 - 100
American Cinematographer - December 2016 - 101
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American Cinematographer - December 2016 - 103
American Cinematographer - December 2016 - 104
American Cinematographer - December 2016 - Cover3
American Cinematographer - December 2016 - Cover4
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