American Cinematographer - November 2012 - 51

out and balancing the color cut for cut, scene for scene,” says Muscarella. Andrew Oran, FotoKem’s vice president of large-format operations, worked with the filmmakers to develop a photochemical workflow that would preserve the resolution and color of the original 65mm negative while seamlessly incorporating the 35mm elements. FotoKem also handled the 65mm processing, HD transfer of the 35mm reduction prints for editorial, 70mm and 35mm show prints, and 65mm and 35mm scanning for the DI to create general-release prints and a 4K DCP. (For the latter step, the 65mm was scanned at 8K, the 35mm was scanned at 6K, and all material was downconverted to 4K for the rest of the process.) “We had to figure out how to construct a post pipeline with four finishes,” says Oran. “Our starting point was the 65mm negative and 70mm show prints. Once we established that, everything else fell into place.”

In order to complete a 70mm “hero print,” Oran needed to take all the footage that originated in 35mm and scale it up to 65mm. Vince Roth, the show’s 65mm technical director, made IPs of the 35mm original-negative selects and then had them blown up into a 65mm duplicate negative. “After that, the 35mm negative and IP was just set on the shelf,” Oran continues. “We went through a photochemical answerprint process, a negative cut on the 65mm material, and then a 70mm IP and answer print.” Anderson also wanted some show prints struck from a 35mm cut negative, so FotoKem used a modified Imagica optical printer to reduce the complete 65mm IP to a 35mm duplicate neg. The facility’s team extracted all of the 35mm dupe-neg material that originated in 35mm — now two generations removed — and replaced it with the corresponding 35mm camera neg. Oran acknowledges that it would

have been simpler to grade The Master digitally and then film out to 70mm and 35mm, “but it’s very important to Paul that the film does not look like it has gone through a digital post process, and that he can present it to as many people as possible on prints from the original negative.” ●

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American Cinematographer - November 2012

Table of Contents for the Digital Edition of American Cinematographer - November 2012
