American Cinematographer - April 2023 - 38

Record producer Teddy Price (Tom Wright, top photo
at right) helps the band develop their sound.
an unfiltered set of Optimo Primes, which were used mostly by Cutter in
the second block of episodes.
A couple of Sony FX3 cameras (capturing 4.2K full frame and recording
ProRes raw externally on Atomos Ninja V+ recorders), paired
with Sony/Zeiss 16-35mm Vario-Tessar and Sony 24-105mm FE G OSS
lenses, were used on a handful of shots in tight quarters and difficult
locations, including Hydra, Greece. Cutter notes, " We used the zooms
for a few specific scenes that Nzingha wanted to infuse with 1970s-style
zooming, like a press conference where Daisy and Billy clash. " Additionally,
a Pro814 Super 8 camera was employed to create a character's
home-movie footage. (The film negative was processed and scanned at
6.5K by Pro8mm for delivery to Company 3.)
" Within every musical performance,
there's so much emotional performance. "
Colorful and Shimmering
DIT Daniele Colombera worked with Varese and supervising colorist and
ASC associate Stefan Sonnenfeld of Company 3 to define the many looks
Daisy Jones required. " I don't leave home without Daniele, who is a genius,
and Stefan, the third leg in the tripod, " says Varese. " We develop
a show LUT in prep, and Daniele and I tweak the color in every frame
while on set. "
Sonnenfeld's custom LUT for the show " had a slightly warmer shoulder
and some cooler tones in the shadows, " says Colombera. " It was neutral
and well balanced, a great starting point for me to create a look for
each scene with [ASC] CDL values. "
Colombera adds that Varese's lookbook included " rock 'n' roll photographs
that were not the usual iconic images, but candid moments
captured backstage, as well as street photography of the Sunset Strip
and the characters populating it in the late '60s and '70s. That showed
me he intended to create a look that was colorful and shimmering, but
also powerful and realistic. "
On the Move
No matter which camera was in play, it was seldom at rest. " These are
38 / APRIL 2023

American Cinematographer - April 2023

Table of Contents for the Digital Edition of American Cinematographer - April 2023

Contents
American Cinematographer - April 2023 - Cover1
American Cinematographer - April 2023 - Cover2
American Cinematographer - April 2023 - 1
American Cinematographer - April 2023 - Contents
American Cinematographer - April 2023 - 3
American Cinematographer - April 2023 - 4
American Cinematographer - April 2023 - 5
American Cinematographer - April 2023 - 6
American Cinematographer - April 2023 - 7
American Cinematographer - April 2023 - 8
American Cinematographer - April 2023 - 9
American Cinematographer - April 2023 - 10
American Cinematographer - April 2023 - 11
American Cinematographer - April 2023 - 12
American Cinematographer - April 2023 - 13
American Cinematographer - April 2023 - 14
American Cinematographer - April 2023 - 15
American Cinematographer - April 2023 - 16
American Cinematographer - April 2023 - 17
American Cinematographer - April 2023 - 18
American Cinematographer - April 2023 - 19
American Cinematographer - April 2023 - 20
American Cinematographer - April 2023 - 21
American Cinematographer - April 2023 - 22
American Cinematographer - April 2023 - 23
American Cinematographer - April 2023 - 24
American Cinematographer - April 2023 - 25
American Cinematographer - April 2023 - 26
American Cinematographer - April 2023 - 27
American Cinematographer - April 2023 - 28
American Cinematographer - April 2023 - 29
American Cinematographer - April 2023 - 30
American Cinematographer - April 2023 - 31
American Cinematographer - April 2023 - 32
American Cinematographer - April 2023 - 33
American Cinematographer - April 2023 - 34
American Cinematographer - April 2023 - 35
American Cinematographer - April 2023 - 36
American Cinematographer - April 2023 - 37
American Cinematographer - April 2023 - 38
American Cinematographer - April 2023 - 39
American Cinematographer - April 2023 - 40
American Cinematographer - April 2023 - 41
American Cinematographer - April 2023 - 42
American Cinematographer - April 2023 - 43
American Cinematographer - April 2023 - 44
American Cinematographer - April 2023 - 45
American Cinematographer - April 2023 - 46
American Cinematographer - April 2023 - 47
American Cinematographer - April 2023 - 48
American Cinematographer - April 2023 - 49
American Cinematographer - April 2023 - 50
American Cinematographer - April 2023 - 51
American Cinematographer - April 2023 - 52
American Cinematographer - April 2023 - 53
American Cinematographer - April 2023 - 54
American Cinematographer - April 2023 - 55
American Cinematographer - April 2023 - 56
American Cinematographer - April 2023 - 57
American Cinematographer - April 2023 - 58
American Cinematographer - April 2023 - 59
American Cinematographer - April 2023 - 60
American Cinematographer - April 2023 - 61
American Cinematographer - April 2023 - 62
American Cinematographer - April 2023 - 63
American Cinematographer - April 2023 - 64
American Cinematographer - April 2023 - 65
American Cinematographer - April 2023 - 66
American Cinematographer - April 2023 - 67
American Cinematographer - April 2023 - 68
American Cinematographer - April 2023 - 69
American Cinematographer - April 2023 - 70
American Cinematographer - April 2023 - 71
American Cinematographer - April 2023 - 72
American Cinematographer - April 2023 - Cover3
American Cinematographer - April 2023 - Cover4
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