“Mission: Impossible-Ghost Protocol”
Achieves “Wow” Factor with 65mm Capture
If audiences feel a sense of heightened exhilaration while watching Tom Cruise in “Mission: Impossible-Ghost Protocol” climb the side of the Burj Khalifa-currently the world's tallest building located in Dubai-they can thank the creative and post teams who collaborated on the film for the immersive experience. The fourth installment in the “M:I” franchise is even bigger than the previous films, literally, with select sequences shot in 65mm to take full advantage of giant screens.
This holiday season, two-time Academy Award®-winner Brad Bird directs, with producers Tom Cruise and J.J. Abrams, the action-packed spy adventure “Mission: Impossible-Ghost Protocol.”
Blamed for the terrorist bombing of the Kremlin, IMF operative Ethan Hunt is disavowed along
with the rest of the agency when the President initiates “Ghost Protocol.” Left without any
resources or backup, Hunt must find a way to clear his agency's name and prevent another
attack. To complicate matters further, Hunt is forced to embark on this mission with a team of
fellow IMF fugitives whose personal motives he does not fully know.
Tom Cruise returns in the starring role as Hunt and is joined by an international cast that
includes Jeremy Renner, Simon Pegg, Paula Patton, Michael Nyqvist, Vladimir Mashkov,
Josh Holloway, Anil Kapoor and Léa Seydoux.
“When we first got into the movie, the challenge of shooting 65mm large format was formidable,”
says associate producer Ben Rosenblatt. While looking around for a facility partner, Ben called
FotoKem, who guided him through the options. “FotoKem was incredible and helped us through
whatever we wanted to do,” Ben says. “The interesting thing that FotoKem did was show us
potential. All of our testing was done there, and they were able to take us through a variety of
formats to show us the best path through to the finish.”
FotoKem's Andrew Oran, VP of large format sales and operations, says, “We took the initiative to be co-partners with the production, engaging in extensive testing to demonstrate and assure them that the 35mm and two 65mm formats they wanted to shoot in would blend. We consider it our
job to demonstrate the usefulness downstream of these larger formats.”
Those two 65mm formats (both framed in a 4:3 aspect ratio) were 15-perf and 8-perf, which accommodated a smaller, lighter camera for shots
involving more movement or Steadicam. The rest of the film was 35mm, shot in 2.40 anamorphic.
Oscar®-winning cinematographer Robert Elswit, ASC, says he composed for both the large format and scope simultaneously. “In the 8-perf and
the 15-perf, there is a lot of leeway there to extract a 2.40. The nice thing about the IMAX frame is that during a shot, you can actually recompose it-slide it vertically up or down-to get all the elements into a 2.40 frame.”
FotoKem took care of the 65mm processing, telecine and scanning, even as the production was globetrotting to Moscow, Dubai, Mumbai and Vancouver. “As expedient as we could make it, the film was boxed up, put on a plane, and processed by FotoKem,” recalls Ben. “Andrew would write me detailed e-mail messages about what he thought of the negative. This format is not conducive to digital collaboration. You need to look at it on a gigantic screen with huge projectors. In order to make that work across oceans, there had to be an element of trust.”
“We have two main objectives when someone shoots 65mm,” explains Andrew. “The first objective is make it as simple as possible-as if they were shooting 35mm or digital-and take as much of the post production complications out of the process. We do that by providing trustworthy reports and by turning the 65mm around quickly. The other main objective is to make sure that the filmmakers achieve their goals for shooting 65mm. We do this through very high-res scans on our IMAGICA 11K scanners, and by doing testing with them right at the beginning at various resolutions-4K, 2K, HD, and even encoded to QuickTime-to make sure that 65mm is serving the purpose they intend.”
This approach also helped to quell Robert's concern, who says, “The trick in cutting back and forth is to not see a huge change in grain structure.”
Andrew viewed the “Mission: Impossible-Ghost Protocol” footage at the California Science Center's IMAX theater in Los Angeles before sending
Ben and Robert detailed negative reports and thoughts. These reports eased any anxieties the production had because of the lag in shipping
and turnaround.
Quite simply, Andrew points out, 65mm takes longer because there is more of it; 15-perf is 338 feet per minute as opposed to 90 feet per minute for 35mm, and at nearly double the width, it runs through machines at a slower pace due to physics. “We have a 24-hour 65mm operation to make up
for the inherent differences in processing time and handling time so that filmmakers get their information on the 65 neg at roughly the same time as their 35 neg,” he explains.
FotoKem provided HD dailies and later high-resolution scans of the 65mm 15-perf footage at 11K and of the 8-perf footage at 8K. Some high-res files also were delivered when re-framing was needed for 35mm output, an added luxury of shooting in 65mm.
“FotoKem has been doing this a long time now,” adds Andrew. “Our 65mm high-def telecine bay is in continual use; we have a team of very
experienced 65mm film handlers on staff; we have extremely high-resolution scanning capabilities; and we provide expertise in the operation of all 65mm cameras and formats (5-perf, 8-perf and 15-perf). We're familiar with all the technical issues that can arise when a production opts for the
large format, and we are able to support the work.”
And Ben is a believer. “The challenge of shooting all over the world was made much easier by Andrew and the team at FotoKem,” he says.
“For a guy in a job like mine that has a task in hand like 'Mission: Impossible-Ghost Protocol,' without a partner like FotoKem, it would quite
literally be impossible.”
“Mission: Impossible-Ghost Protocol” is currently in theaters everywhere.
IMAX® is a registered trademark or Imax Corporation.
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FotoKem's Tools & Expertise
Serve the Artistic Approach to “Rampart”
Rampart is an intense feature film about an arrogant, macho cop (played by Woody Harrelson) on an emotional downward spiral. The script was
written by James Ellroy (L.A. Confidential) and director Oren Moverman, who re-teams with cinematographer Bobby Bukowski. The director-DP
duo previously collaborated on The Messenger, the highly regarded indie that earned two Oscar nominations in 2010.
At first, the characters of Rampart are depicted in strong, unforgiving light, even in close-up. Then, Harrelson's character, Officer Dave Brown,
slowly loses his grip as the story progresses. Bukowski and Moverman visually expressed this descent with images that show him in partial and
broken reflections. By the end of the film, Brown is an almost ghost-like, fleeting presence on the screen.
The Rampart team turned to FotoKem early in the creative process to establish the right
workflow. “The people at FotoKem are very concerned with giving me exactly what I need,”
says Bukowski (The Hawk is Dying, Arlington Road). “They're watching my back.”
The DP also notes that the lines between prep, production and postproduction are blurring.
“Long before we were shooting anything on the set, we were doing copious testing on the look.
Oren and I were mining for the right process. The DI expertise and tools at FotoKem were very
valuable throughout in rendering our vision as artists on this film.”
Moverman and Bukowski devised a shooting style that featured available light, extensive
handheld work and an “on-the-fly” approach with little blocking and rehearsal.
When Moverman expressed interest in shooting on the ARRI Alexa, FotoKem devised
technical solutions that made that camera fit perfectly with the filmmakers' approach. The
SxS-to-ProRes 4:4:4 approach uses a card-slot module on the side of the camera, leaving the
camera operator-in this case, Bukowski-free to follow the action without worrying about cables.
“This was one of the first-if not the first-feature films to use the SxS module to shoot directly to ProRes 4444 files,” notes FotoKem Vice President
Mike Brodersen. “We did quality tests that showed the format holds up beautifully, with no obvious compression issues. The images are recorded in Log C, which allows the full dynamic range of the Alexa to be captured even on relatively 'lightweight' media. The ease of media management and the lighter files, without the need for a big recorder or tethering, was important to Bobby in this case.”
Bukowski confirms that the freedom this setup allowed him was crucial. “With Oren, if we're in a house, virtually the entire house is fair game in terms of action area,” the cinematographer describes. “The thought of being cabled to yet another device was prohibitive for us. We were very glad when we saw the tests, which showed that SxS and ProRes could give us exactly what we needed, without compromise.”
The SxS cards were downloaded on set, where the digital imaging technician (DIT) used a Truelight system to create looks using various LUTs. Those LUTs were then sent to FotoKem with the rest of the media, including audio. FotoKem would apply the LUTs as a color grade and check the images against the reference images provided by the productions. Once the images were color graded, FotoKem created dailies and the Avid media for editorial. The dailies were sent to the production's editorial offices in New York over FotoKem's globalDATA media delivery platform.
FotoKem's nextLAB system was designed and developed in-house to streamline dailies and data management. “We don't want to lock people into a rigid way of working,” adds Brodersen. “Each project is a little different. We designed nextLAB to be adaptable to each production's needs. We are compatible and adaptive to every production, and decide what is most appropriate and economical.”
For the digital intermediate, Moverman and Bukowski fine-tuned images that depicted Los Angeles light as “assaultive and corrosive.” The look featured highlights that were almost peaking, strong contrast, and deep blacks.
“The DI was a major tool in rendering our vision as artists on this film,” says Bukowski. “If I asked Oren if I should push the highlights brighter, or make the blacks blacker, his answer was always yes. The colors are quite saturated and the highlights are often at the point of peaking. The blacks are completely black, sometimes with no detail.”
FotoKem DI colorist Walter Volpatto went back to the original files and metadata, and pulled takes from the EDLs (Edit Decision Lists) from
editorial. The log files were pulled into their Quantel Pablo system for color correction. “This was the first feature film we did with the new version
of the software,” says Volpatto. “That accelerated the whole process. Most of the operations are completed in real time. There's no more waiting f
or the machine.”
After the DI, DCP copies were created and film prints made to match the final look. “We deliver all the necessary masters-the film print, the DCP,
the HD-through one color correction,” Volpatto explains. “This gives the director of photography confidence that their intended photography will be maintained throughout all deliverables.”
Co-producer Luca Borghese appreciated the smoothness of the workflow. “The Alexa workflow that FotoKem has devised was far more elegant than the other labs that were bidding on the project. They were able to remove a lot of the steps from the tapeless process that a dailies workflow can get bogged down in,” he recalls. “I also had a comfort level with the facility because of the reliability and the quality of their past work.
“Because of the media management system that FotoKem has set up they were able to complete the online of the project in three days,” Borghese says. “We were fully conformed less than a week after picture lock. Starting from nothing, that's pretty impressive.
“Walter Volpatto was an amazing collaborator for Oren and Bobby,” Borghese continues. “He helped them clarify and achieve the atmosphere they were looking for in the movie. The final product is extreme and beautifully artistic, a real achievement from the perspective of color.”
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When referring to their approach, Amy is keen to point out, “I'm photochemically trained. I believe that good composition, lighting and photography lend to a good-looking movie.”
And Craig supports that. “There's a special color temperature and grain content that Amy does, that I haven't really seen much in other work,” he says. “It just makes the subject seem like they're of the environment.”
“Amy has an amazing eye for composition,” Volpatto adds. “We both like the same things, visually. We like natural photography and bold lighting; and our goal is to make the DI very transparent-like a good visual effect.”
The filmmaking team was able to take full advantage of Walter's skills in such scenes as the film's opening-a flashback to a deadly car crash that sets up the rest of the film. “We went in several different directions at first, because the scene has to be detached enough from the rest of the movie, but still retain the same kind of quality,” Amy explains. “The challenge was to avoid broadcasting to the audience what it is they're looking at, allowing them to instead experience it through the image. We didn't want to tell the audience, 'Look-this is a flashback,' with a heavy, contrasty, desaturated image. It
had to be real, but different enough that it feels like a prologue.”
In another one of the film's signature scenes, star Kenny Wormald blows off some steam with a fiery, powerful dance sequence in an old, deserted
warehouse. Amy recalls, “There was a really bad thunderstorm that day, so I had to essentially light the entire warehouse. It got so dark that I couldn't have shot even the fastest film stock in the world in there without a lot of firepower.”
But the cinematographer still managed to capture a quality image, and Walter, using FotoKem's state-of-the-art Quantel Pablo color timing system, brought out the edge in the dancer's performance. “We made it just a touch more cool from the rest of the movie, but also incorporated a subtle feeling
of strength by giving a bit more boldness to the color,” he explains.
FotoKem's San Francisco-based SPY Post helped rescue another difficult shot-a scene in a church where star Julianne Hough's character confronts
her father, played by Dennis Quaid. “The scene was supposed to take place during a rain storm, but, in the finished negative, the exposure in the windows was hotter than desired,” notes Billy.
The complexity of the shot made it impossible to utilize DI power windows to tone down the window light. So SPY scanned the image and graded it for proper flesh and room tones. Then they took a second pass, and graded the windows down to bring out the detail that she had captured, which was all there on the 35mm film negative. SPY then rotoscoped the finished windows into place within the rest of the image for a memorable, dramatic sequence.
Amy and Walter will no doubt find themselves working together again at FotoKem. “We are at the point where I can understand what Amy wants by the way she sighs,” the colorist says with a smile. “Sometimes she doesn't even have to tell me.”
And Amy notes, “I consider us complete partners in the color timing process. It's like the perfect artistic combination.”
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“Contagion” Spreads at FotoKem
Steven Soderbergh returned to FotoKem earlier this summer to finish Contagion, his highly anticipated bio-thriller starring Matt Damon, Jude Law, Gwyneth Paltrow, Marion Cotillard, Kate Winslet, and many more, in an international cast. Contagion marks Steven's second feature at FotoKem, and his first DI with colorist John Daro. Contagion, an action-thriller centered on the threat posed by a deadly disease and the international CDC team deployed to deal with the outbreak, is a compelling and nerve wracking film, whose story is told with strong imagery.
John had previously worked with Steven on Haywire, and was thrilled to work with the director on the full DI for Contagion. “Steven is a rare talent; a great writer and director, in combination with a high level of technical skill. I was looking forward to working with someone I admire, and it turned out to be a great experience.”
FotoKem was part of the post process from the beginning through the final delivery of the DI. Contagion was a complex, multi-city, global production, shot on the RED One with the MX sensor. Working closely with the film's editorial team early on helped FotoKem keep everything working smoothly. “Being part of a project from pre-production, especially one that is shooting around the world in multiple locations, is extremely beneficial,” notes Tom Vice, VP of nextLAB, a division of FotoKem. “We sat down with the Contagion team and custom-designed a workflow to meet their needs. It's important to start as early as possible, and Contagion benefitted from our ability to be integrated from the get go.”
FotoKem's nextLAB Mobile system was deployed to globetrotting production locales, including Geneva, Atlanta, Chicago, Hong Kong, London, Morocco and San Francisco. The portable system supported the production by managing camera original digital negative, creating editorial media and archiving camera files on location. The film is edited by Oscar© winner Stephen Mirrione, and each day, dailies were created from the RED files and sent to the editorial team for delivery the next day, whenever possible. Furthermore, Soderbergh would get the material each night after shooting. Since the material was coming right out of the nextLAB synced and graded, they could start cutting as soon as the files were updated to the Avid.
Early on, Daro knew that the project would be unique. “We were working in 4K from the first day, all the way through the end of the DI. And, conforming directly from the RED files, we were able to use the camera metadata as a starting point. We had no conversion or rendering, and had instant access to Steven's great images. We were working from the beginning with the settings he had reviewed and chosen on set.”
The DI was accomplished in record time, not always the norm for a major studio release. John notes that there were some important contributing factors to the rapid execution of the DI, not the least of which is the clarity of vision and the technical talent of the director. “Steven knows exactly what he likes, how to get there in terms of workflow, and he speaks the language of the colorist. He is very articulate with the vocabulary of the color suite. His photography is extremely consistent, and that combination is powerful.”
Additionally, some of the features of the Pablo were instrumental in the ease and success of the DI. John notes, “In the Pablo, the soft mount is an instant, real-time version of the DI that enables you to be working quickly with an initial check. The metadata is still 'live' when R3D files are soft mounted. This allows for precise control of basic color settings like white point and exposure. You load the whole show and get confirmation of scenes and the initial look, then you go from there. After the soft mount, you move into the traditional DI, but a fast, base grade pass through the picture has already been done, and can be called up again for easy reference or further refinement of the R3D import settings. It's a fast, flexible base grade and really powered our finishing.
“Finishing the trailer first gave us a clear roadmap about where we wanted to go, and how we wanted the film to look,” John adds. “Steven had strong visual images in mind, and we honed it during the trailer. Between the tools of the DI pipeline and nextLAB, we were able to accelerate the creative process. The technology got us straight to the color work, which is where the focus should be: on the creative execution, not the workflow.”
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“The Glee Project” Hits High Notes at FotoKem
A Creative Partnership for Pitch Perfect Sound
“The Glee Project” a 10-episode musical competition reality show on Oxygen, followed 12 young, aspiring singers as they took on weekly musical
assignments that culminated in a group musical performance. Guided by mentors, the performers had to truly shine to stay near the top of the heap
and avoid elimination. Each week culminated in a “Glee”-like music video followed by an elimination round where three at-risk performers sung for
their survival. At the end of the series, the performer lucky enough to be the last person standing was to win a recurring role on seven episodes of the
Fox series “Glee.” The surprise twist was that two people ended up taking the grand prize.
“The Glee Project” was created by executive producer Ryan Murphy. In crafting the seven-episode role for the upcoming season of the mega-hit
show, the creators hoped to be inspired not only by the winner's talent but also by their unique personality. It is a lot of pressure but the payoff is a
huge, once-in-a-lifetime opportunity.
Co-executive producer Alex Weresow chose Margarita Mix, a FotoKem company, so that he could pull re-recording mixer Michael Jesmer into the
project. Alex had previously worked with Michael on a project, and really enjoyed Michael's style of mixing.
Regarding his all-in approach to “The Glee Project,” Michael says, “I started by watching the entire first season of ‘Glee’ and recording their audio into
my 5.1 surround system to use as a guide. I paid a lot of attention to how it was mixed, researched the whole audio team and read an interview from
the sound mixer. I just gleaned as much as I could from every source I could find.”
Alex adds, “Michael's audio results ran the gamut from the raw and organic to the epic. He's got this way of thinking about sound and how it matches
up with the emotional drama in the scene. He does this in a couple of ways; he might move the sound around and make it seem like it's coming from
different parts of the room, for example.”
For Michael, this movement of sound is a “Glee” signature component that he picked up from watching season one. “The audio of the school bell was
always shifting, like it would pan hard left and the next time, it would pan hard right. And so I was excited to expand on that idea in “The Glee
Project,’” he explains.
And Alex supported that, “Michael was able to make small changes with the existing audio to match the shot from wide to close-up. For instance, at
the end of the show, three of the performers were literally singing for survival, and Michael changed the sound to feel like it was in a big space on a
wide shot to a more intimate sound in a close up. The change was very subtle but significant. Then, as a way to build the tension and emotion of the
scene, he took out the high end and added it back in slowly as the scene unfolded, which helped create a more epic and dramatic moment.”
During the mixes, Alex says he and Michael found a simple way to communicate effectively. “We could’ve talked in db’s but it was much easier to talk
about sound as a ‘smidge’ or a ‘scooch,’ so when I would tell Michael ‘a scooch more,’ he knew what I was saying.”
For Alex, setting up post offices at FotoKem’s nonlinear services division and working at Hollywood’s Margarita Mix was an efficient, under one
umbrella set-up. “Between Mike Keenan and Whitney Warren, I got everything I needed as soon as I needed it. We had to grow and shrink with
offline bays and story stations, sometimes at the last minute. They were able to turn my office into a screening room for the execs in literally no time
at all. When we needed to pick up interviews, they set aside offices for us to shoot and do make-up and prep. Whatever and whenever we needed
something, we got it.
“Just like us, FotoKem knows that flexibility is so important,” Alex adds. “A critical part of the process on any show is to build a team. Sometimes that
team can be companies and people who are not part of the production, per se. But with Margarita Mix and FotoKem I know they care just as much
about the show as we do, and will go to any lengths to ensure we deliver the best possible product.”
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FotoKem Has What it Takes for Bravo's “Platinum Hit”
Post Production Supervisor Sandra Soczka Discusses
Her Work on the Reality TV Series
Sandra Soczka is a well-respected and expert post production supervisor, who
came to FotoKem to post 10 one-hour episodes of the new Bravo series
“Platinum Hit.” The music competition show highlights 12 emerging
singer-songwriters on their quest to become the next big hitmaker. The series
features singer-songwriter Jewel as the host judge, and former “American
Idol” judge and songwriter Kara DioGuardi. From dance tracks to love ballads,
every episode features a new theme, requiring the contestants to write and perform
lyrics from different genres. Of course, there is no shortage of personal drama as
they pour their life stories into the music, as well as cope with the stress
of competing and living together.
When Sandra came onboard to supervise post for the show, the “Platinum
Hit” team had already chosen to post at FotoKem. For Sandra, this was
welcome news. She previously worked on several shows at FotoKem. “I
knew Mike Keenan and knew that he'd be a great asset. He's astute at communicating
what's going on, and staying in touch with me. I knew the project was in good
hands from a service and technology standpoint.”
Sandra's supervising role begins as soon as the cameras stop rolling. After
setting up a post production office at FotoKem's facility on Sunset Blvd.,
Sandra started on the first step of the workflow-ingesting footage and organizing
the media. Shot primarily on DVCPRO HD tape with a ratio of over 100:1,
“Platinum Hit” also includes digitally captured footage, mostly
B roll, shot on the Canon 7D camera.
For Sandra, working with a small but knowledgeable staff was the goal:
“The key is to not have too many hands on it.” She likes to have
a lead assistant editor in charge of file management and likens it to the way
each of us organizes our computer desktop. “If all of a sudden a lot of
people started organizing and creating files on your desktop, it would turn
into a mess,” she explains. All other assistant editors follow the lead
AE's organizational style.
Early on in the process, she realized that FotoKem was offering much more
than space and equipment. The FotoKem team worked alongside her as a partner
in the project, starting with the organization of media. “They offered
me solutions to the challenge of transcribing that I hadn't thought of and
even took the time to test it out with me,” Sandra says.
When a new show like “Platinum Hit” goes into offline, everyone
knows there will be adjustments to the workflow and changes to the schedule.
It's Sandra's job to manage and maintain a tight schedule even though the notes
from the EP's and network execs can impact that schedule. Sandra was impressed
by FotoKem's ability to deal with last-minute changes and requests. “They
didn't seem to mind when I said, ‘Oh, I was supposed to get that Avid
back to you by Friday but I need it longer.' They just always rolled with it
and had what I needed, when I needed it, no exceptions.”
At the heart of “Platinum Hit” is the music, and that meant
that the audio mix had to be perfect and stay on budget. Sandra relates,
“Just a few years ago on a music show like this one, the budget would
have been double. Today, the challenge is to spend what you have in a smart
way and keep your priorities straight. Music is a big priority on this one
so that's where we needed to get it right.“
To get the best audio mix for “Platinum Hit,” FotoKem's
Margarita Mix facility, less than two miles away from her Sunset Blvd. office,
offered the best option. Sandra had never worked there and wasn't familiar
with their offerings, but after meetings with their mixers, Sandra decided
to work with re-recording mixer Larry Winer. “Larry did a really great
job and it wasn't easy. ‘Platinum Hit’ is a mixture of reality
and musical stage performances. I needed a mixer that not only understood
dialog editing for reality television, but was also musically knowledgeable.
Those are two very different skills sets. Larry had to maneuver between
numerous tracks of music vocals, instruments, and cast and judge dialog. I
was very happy to discover that he had the specific mixing skills
‘Platinum Hit’ required. He surpassed my expectations and did a
really amazing job.”
For Sandra, her experience at FotoKem has been pitch perfect, thanks to an
innovative, informed team and one-stop, end-to-end services which made her
job easier. “I can't wait to work here again and certainly plan to
continue our ongoing relationship.”
“Platinum Hit” airs Fridays on Bravo at 8 p.m. (EDT).
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Prom
Arri's Alexa makes its U.S. feature debut on Prom,
shot by Byron Shah.
The new Disney movie Prom, a coming-of-age story about an ensemble of teens
getting ready for the biggest night of their young lives, marks the
U.S.- feature debut of Arri's Alexa digital motion-picture camera.
(The European film Anonymous, shot by Anna Foerster, was the camera's first feature
outing, according to Arri.)
For director Joe Nussbaum and cinematographer Byron Shah, the goal was a look
”that felt real, raw and a little out of control,“ says Shah. ”The movie weaves
together multiple love stories, and the look had to match the whirlwind intensity
of teen love.“
”We created a digital look-book made up of stills from other movies, all of
which had been shot on film; there were no references for a digitally shot movie
that had the look we wanted,“ notes Nussbaum.
Before production commenced, the filmmakers tested the Alexa side-by-side
with a Red One MX and a Sony F35. ”There was no studio mandate to shoot digitally,
but Joe and I both were open to the idea provided we could find a format that
worked for the project,“ says Shah. ”We didn't test film because we knew what
film looks like, and we wanted to judge the digital formats on their own terms.
We set up an apples-to-apples test: same lens, same stop, same filters, same setup,
same lighting, same settings and so on. We just switched out the camera bodies.“
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