American Cinematographer - December 2016 - 73
glass-heavy cottage, a window on one
side of Adams would be left wide open
as a key, while on the other side, a tiny
square of light would be allowed to pass
through for fill.
Gawler performed the final grade
at Mels in Montreal over the course of
two-plus weeks, coloring DPX files
with Blackmagic Design DaVinci
Resolve 11 on a Linux system. Joe
Walker edited the movie on an Avid,
with the post house providing him with
1920x1080 DNxHD 115 files letterboxed to 2.39:1.
Since Young's wife had a baby on
the way, he and Gawler began a first
pass early on, before picture was locked
and most visual effects were finalized.
"Joe Walker and Denis came in to
review," Gawler says. "They were happy
with the overall mood but had specific
notes to help emulate a more saturated,
dreamy look in the memory scenes with
Louise and her daughter." Gawler
further recalls that he and Young
referred to Jean-Pierre Melville's 1969
World War II drama Army of Shadows
"to calibrate our eyes to a muted
palette."
Some of the greatest DI challenges related to the extraterrestrial visitors. "The aliens appear in a misty
environment, and for much of the film
remain mysterious and barely visible,"
Gawler explains. "We had to work
closely with the visual-effects team to
make sure we could see just enough -
but not too much - through the mist.
Sometimes we were able to achieve that
by adjusting the color, and other times
the visual-effects team would make
subtle adjustments."
Throughout production and
post, Young found Arrival to be an
invaluable learning experience. Indeed,
this foray into science fiction readied
him for his next project: the muchanticipated - and currently untitled -
Han Solo Star Wars film directed by
Phil Lord and Christopher Miller. To
prep for that project, Young has
decamped to London for a year.
Young advises that whenever
cinematographers feel unsure of
whether or not they are doing good
work, they should have faith in the
process and keep at it. "I was very
worried," he admits. "I wanted to do a
good job for this filmmaker whose work
means so much to me. It came later.
After four weeks of shooting, I pulled
up a shot for reference and thought,
'Oh, that's interesting.' The film grew
on us. And when we walked out, we
believed we'd done our best."
●
TECHNICAL SPECS
Digital Capture
2.39:1
Arri Alexa XT, XT M
Camtec Vintage Series Ultra Prime,
Zeiss Super Speed
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
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