American Cinematographer - December 2016 - 42
◗
Cutting-Edge Clarity
ous sections of the film, and this is where
we started when doing the DI. I was
working on a new project when the DI
began, but I was able to break away and
work with DI colorists Adam Inglis and
Marcy Robinson. Nearly all the postproduction work had been set up in Ang's
New York office, and this is where the
entire DI took place.
Now that you've seen the
finished film, what do you think of this
new format?
Toll: There's no question this
process delivers an unprecedented look
and exciting new ways for audiences to
experience characters and story, but I
think we're just scratching the surface. I
consider it a great honor to have been
asked to join Ang and this great team of
filmmakers.
Technical Supervisor Ben
Gervais
Gervais was involved in every
aspect of the technology behind Billy
Lynn's Long Halftime Walk - from
initial concept through testing, system
design, production, post, and even the
high-end projection at IBC. He was also
responsible for choosing the process used
for conversion from the 120-fps original
to the 60-fps and 24-fps versions.
Top: Lynn sits beside his sister Kathryn (Kristen Stewart) for a family dinner celebrating his
too-brief return from the war. Middle: John Toll lines up a shot with actors Alwyn and Makenzie
Leigh. Bottom: The crew readies a camera test.
42
December 2016
American Cinematographer
American Cinematographer: Can
you tell us about the technical reasons
for 120 fps?
Ben Gervais: We made that
choice primarily based on the theory that
if we shot, for example, at 60 fps, then we
wouldn't be able to get a 24-fps deliverable without visual-effects touch-ups,
because 60 is not an even multiple of 24.
So we decided to do 120 fps because it
was a multiple of 24 and of 60. We could
get all our deliverables and there was
literally no cost added, because when you
shoot the Sony F65 above 60 fps, it only
samples every other line, so the files are
actually the same size as the 60-fps files.
Instead of being a 3:1 compressed image,
it's essentially a 6:1 compressed image.
It's a little more compression than
we would like, but since it's actually
throwing away every other line and then
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
American Cinematographer - December 2016 - 99
American Cinematographer - December 2016 - 100
American Cinematographer - December 2016 - 101
American Cinematographer - December 2016 - 102
American Cinematographer - December 2016 - 103
American Cinematographer - December 2016 - 104
American Cinematographer - December 2016 - Cover3
American Cinematographer - December 2016 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com