The American Society of Cinematographers

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Return to Table of Contents January 2017 Return to Table of Contents
President’s Desk
Fences
Paterson
Page 2
ASC Close-Up

Elmes: It’s early 20th century, red-brick industrial. Paterson has a manufacturing history and a great immigrant population. Over the years its economy has gone up and down, so even if there was some decay, next door was a brand-new business just starting up. Those are the parts of Paterson we chose to emphasize.

We liked the look of Paterson, but because New Jersey has no tax credit, we shot much of the movie in New York state.

Did you have any stage days?

Elmes: We built a bedroom set on stage in Brooklyn and shot there for a couple of days. This gave us better control of the light and the ability to place the camera higher than most locations would allow.

Where did you film the bar scenes?

Elmes: The bar was in Queens. We were looking for a low-key neighborhood bar, and when Jim and our production designer, Mark Friedberg, found the location, they thought it was just perfect.

Where did you do the color grade?

Elmes: I did the color with Joe Gawler at Harbor Picture Co. in Manhattan. Joe is a fantastic colorist and I’ve known him for years.

I usually work with a DIT — on this film it was Abby Levine — to find a CDL that pinpoints the color and density I’m looking for in the scene. This way, Jim could edit dailies that looked like what we saw on set, and [were] very close to what the final color correction would be.

What was your capture format?

Elmes: We shot 2K 12-bit ProRes Log, 16:9 for 1.85:1. Even though there’s a little more quality with the raw image, on our modest production it’s a huge expense to handle all that data.

How will the film be distributed?

Elmes: Our principal distribution is a 2K DCP. I saw it at the New York Film Festival in Alice Tully Hall, and I thought the subtle things we tried worked very well. I had used a bit of diffusion on the lenses — some very thin silk netting on the front — to take a bit of edge off the sharpness of the camera. We also made a couple of film prints from our DI files at Labodigital in Mexico and they did a good job. It’s a little different than the DCP in contrast and grain, but I like the look a lot.


TECHNICAL SPECIFICATIONS

TECHNICAL SPECS

1.85:1

Digital Capture

Alexa Studio, Mini

Arri/Zeiss Variable Prime

 
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