The American Society of Cinematographers

Loyalty • Progress • Artistry
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ASC Close-Up

    “I find working with the trackball panel to be very tactile,” Levy continues. “It’s almost like playing a piano, as I push and pull the image until I get it to where I want it to be. Between the Truelight system and a waveform monitor, I’m very confident about my image and getting what I want. I’ve pretty much forsaken the use of my beloved light meters these days — I find that monitoring the image on a waveform monitor reading the raw file gives me a very accurate picture of what my ‘negative’ looks like, and allows me to light by eye.

    “The other [benefit] of this workflow,” he adds, “is that when Stephen goes into the edit room, he’s looking at the flavor of the scene as we intended it, not some dailies approximation. It’s an intangible, but I think it makes a big difference in editing choices. Even when they’re scoring the film, the composer gets to see something that resembles the final product. It also means that by the time I get to my DI session, I’m really just finishing the film off instead of starting from scratch. I did the final color timing in Montreal with a very skillful colorist, Patrice Fortin, at Vision Globale on a [FilmLight] Baselight system working at 2K.”

    Due to a scheduling conflict after Race’s production was pushed back several times, Levy was unable to finish  the shoot. In his stead, Peter Moss, ASC, ACS came on to complete principal photography. “Peter did a masterful job of matching my look and style,” Levy enthuses.

    “Maybe it’s because of my original documentary background that I find it more satisfying to work on a true story,” concludes Levy. “And because this is a true story, I felt a particular responsibility to make it right and emotionally truthful. There are painful parallels between fascist Germany and what was happening in the United States at the time, and it’s still relevant today. I’m proud of this film. I got a lump in my throat when I read the script, I got a lump in my throat when we were shooting certain scenes, and I got a lump in my throat seeing the final film. It affects me, and I hope that I did the best I could so that it affects an audience as well.”




Digital Capture


Arri Alexa XT


Vantage Hawk V-Lite, V-Series

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