AMERICAN CINEMATOGRAPHER THEASC.COM Above: A close look at a Panavision Ultra Vista during a camera test. Right: A custom Panavision lens attachment developed for the production. theater via projection - Seresin experimented with the lenses' resolution and resolving power to try to anticipate how more extreme looks and attachment variations would translate to the big screen. Theatrical deliverables included 2D/3D 4K, Imax Digital and Dolby Cinema masters. A Unique Post Workflow For the 2D deliverable, Seresin incorporated a scan-back-to-film step and special photochemical processing at FotoKem " to introduce a filmic quality with grain and texture, which is especially important given the heavy use of CGI, " he says. A 35mm internegative was filmed out at 4K to Kodak Vision3 Color Digital Intermediate Film 2254, which was then processed with a bleach bypass before being re-digitized at 4K. Supervising colorist Dave Cole calls FotoKem's method " a truly analog intermediate process. Instead of creating a printable neg, we're using the negative as a data-storage device with its own characteristics. When we bring it back in, we match it back to the show LUT before doing final creative touches. " The VFX Approach Nearly an hour's worth of Godzilla x Kong is completely computer-generated. Shot designs were initially planned by Ongaro - who also served as the show's visual-effects supervisor - and the previs company The Third Floor. " I would substantially develop the scenes before presenting them for " We adapted our lens choices to match the evolving environment and narrative. We sometimes found that certain combinations didn't produce the desired effect until we pushed them to the most extreme settings, and then we backed off. " JUNE 2024 / 37http://www.THEASC.COM