The American Society of Cinematographers

Loyalty • Progress • Artistry
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The filmmakers did not employ a digital-imaging technician, but it was a busy set for digital loader Camilo Mendoza, given the copious amounts of footage. “Keeping up the downloading with the pace of shooting was my main responsibility,” Mendoza recalls. “I was always the last man out on set, staying up to two hours after wrap.”

G-Technology G-Drives were sent to Technicolor PostWorks in New York, whose staff would return dailies on iPads for Vallée, the producers and Bélanger to spot-check. The dailies colorist was Luke Dumaguing, who employed Colorfront’s On-Set Dailies. Once a week, Mendoza would send all the footage on NAS archival hard drives to both the production office and to Vallée’s editing suite in Montreal in Avid DNxHD 36 format for editing.      

Film Factory Montreal became involved with the color grade just before picture lock, and performed about 20 days of grading in June and July of 2015. Using Digital Vision’s Nucoda system, colorist Marc Boucrot — a regular collaborator — worked from ArriRaw files with a 2.8K 16-bit workflow for a 2K final deliverable. He evaluated images with a Christie 4K projector. Vallée and Bélanger were present at the start of the DI, providing notes and comments to Boucrot. They then returned every few days for short sessions and to give feedback on the evolution of the grade.

“Jean-Marc’s approach in post is a natural continuation of his cinema-vérité techniques on set,” Boucrot says. “We are there to visually support the best way to tell the story and to complement what Yves shot — not to create environments that are more exotic and aesthetically pleasing than reality. It’s more about connecting with the audience than creating a fantasy universe.”

Bélanger and Vallée established a filmmaking philosophy with Dallas Buyers Club that eschews big lighting kits and flashy style in favor of emotional stories about individuals who redefine themselves in the face of devastating developments. The pair’s collaboration continues along this path as scripts they love keep coming their way. “It’s amazing,” Vallée reflects. “We find ourselves getting attached to amazing projects with great scripts. And when you have great scripts, great actors then want to be attached. We’re on a great run.”       



Digital Capture

Arri Alexa XT, XTM

Zeiss Super Speed, Standard Speed; Arri/Zeiss Master Primes; Angenieux Optimo

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