American Cinematographer - November 2023 - 49
AMERICAN CINEMATOGRAPHER THEASC.COM
A simulant rebel holds its ground during a battle.
The $5 LUT
While working out the look of the film, Edwards scoured the web for
LUTs to use with the Sony ILME-FX3 camera. " I bought every single
LUT on the internet - I went a little crazy with it, " he says. " Then I
did the 'Pepsi Challenge,' where I tried out every LUT and took that
footage to FotoKem, where our colorist, Dave Cole, worked with them.
and covering the floor, and then you get to painting, and that part just
kind of happens. That's how we approach filmmaking. "
$4,000 Cameras
Shooting The Creator the way Edwards intended would have been almost
inconceivable without the Sony ILME-FX3 mirrorless camera, according
to Fraser. " We needed a camera that would give Gareth a small
kit he could just fly around with, would be cost effective, and would be
small enough that he could practically sleep with it, " the cinematographer
says. " He needed to be able to shoot anywhere, mostly unnoticed. "
" We went to a lot of trade shows and looked at a lot of gear, but it
wasn't really until Sony came out with the FX3 that I said, 'Okay, now
we've got what we need,' " Fraser continues. " After I finished The Batman,
I went off and did a commercial in Spain on the FX3, and it blew me
away. The amount of sensitivity you can get from that camera and the
image quality at 12,800 ISO are mindblowing. It was the tool we needed. "
The production carried several FX3s, and four were rigged at all
times: Edwards' main camera was on a DJI Ronin RS2 handheld gimbal;
another unit was rigged for a small Kessler Shuttle dolly that could also
be rigged with a GF-Mini Jib; another was rigged to a Proaim Powermatic
17' scissor crane; and another was on a heavy-lift drone so the filmmakers
could instantly switch shooting modes without slowing their
pace. For occasional use, Soffer notes, " we also had an FX3 in handheld
mode with standard DSLR handgrips. "
NOVEMBER 2023 / 49
The one I really loved was a $5 LUT that felt a bit like some 1970s film
stock. It had a kind of retro feel that I loved.
" The final shooting LUT for the whole film that FotoKem made for us
was inspired by that initial $5 LUT. "
- J.H.
http://www.THEASC.COM
American Cinematographer - November 2023
Table of Contents for the Digital Edition of American Cinematographer - November 2023
Contents
American Cinematographer - November 2023 - Cover1
American Cinematographer - November 2023 - Cover2
American Cinematographer - November 2023 - 1
American Cinematographer - November 2023 - Contents
American Cinematographer - November 2023 - 3
American Cinematographer - November 2023 - 4
American Cinematographer - November 2023 - 5
American Cinematographer - November 2023 - 6
American Cinematographer - November 2023 - 7
American Cinematographer - November 2023 - 8
American Cinematographer - November 2023 - 9
American Cinematographer - November 2023 - 10
American Cinematographer - November 2023 - 11
American Cinematographer - November 2023 - 12
American Cinematographer - November 2023 - 13
American Cinematographer - November 2023 - 14
American Cinematographer - November 2023 - 15
American Cinematographer - November 2023 - 16
American Cinematographer - November 2023 - 17
American Cinematographer - November 2023 - 18
American Cinematographer - November 2023 - 19
American Cinematographer - November 2023 - 20
American Cinematographer - November 2023 - 21
American Cinematographer - November 2023 - 22
American Cinematographer - November 2023 - 23
American Cinematographer - November 2023 - 24
American Cinematographer - November 2023 - 25
American Cinematographer - November 2023 - 26
American Cinematographer - November 2023 - 27
American Cinematographer - November 2023 - 28
American Cinematographer - November 2023 - 29
American Cinematographer - November 2023 - 30
American Cinematographer - November 2023 - 31
American Cinematographer - November 2023 - 32
American Cinematographer - November 2023 - 33
American Cinematographer - November 2023 - 34
American Cinematographer - November 2023 - 35
American Cinematographer - November 2023 - 36
American Cinematographer - November 2023 - 37
American Cinematographer - November 2023 - 38
American Cinematographer - November 2023 - 39
American Cinematographer - November 2023 - 40
American Cinematographer - November 2023 - 41
American Cinematographer - November 2023 - 42
American Cinematographer - November 2023 - 43
American Cinematographer - November 2023 - 44
American Cinematographer - November 2023 - 45
American Cinematographer - November 2023 - 46
American Cinematographer - November 2023 - 47
American Cinematographer - November 2023 - 48
American Cinematographer - November 2023 - 49
American Cinematographer - November 2023 - 50
American Cinematographer - November 2023 - 51
American Cinematographer - November 2023 - 52
American Cinematographer - November 2023 - 53
American Cinematographer - November 2023 - 54
American Cinematographer - November 2023 - 55
American Cinematographer - November 2023 - 56
American Cinematographer - November 2023 - 57
American Cinematographer - November 2023 - 58
American Cinematographer - November 2023 - 59
American Cinematographer - November 2023 - 60
American Cinematographer - November 2023 - 61
American Cinematographer - November 2023 - 62
American Cinematographer - November 2023 - 63
American Cinematographer - November 2023 - 64
American Cinematographer - November 2023 - 65
American Cinematographer - November 2023 - 66
American Cinematographer - November 2023 - 67
American Cinematographer - November 2023 - 68
American Cinematographer - November 2023 - 69
American Cinematographer - November 2023 - 70
American Cinematographer - November 2023 - 71
American Cinematographer - November 2023 - 72
American Cinematographer - November 2023 - Cover3
American Cinematographer - November 2023 - Cover4
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