devlin

without question

you get what you pay for

arriflex makes great equipment

this other company does not

used mostly negative fill to make the color rich

the director, anthony mandler has an amazing sense of color and contrast, he takes it to the maximum

has a strong grade

thanks for the interest in the shoot salomon.

when we were prepping this scene it reminded me of a set in AI, when halley steps out of the helicopter after being frozen underground for centuries. we had a similar set in some ways. i emulated what our approach there was but with a major shift in the use of color.

overhead was a 40'x80' ultra bounce geogre guzman installed over the set. brad jameison bounced 5 18k arrimaxxes with h blue into the bounce. under the bounce george found a way to install a big frame of half soft frost under the ulrabounce with just enough space to allow the lights to be able to reach into the bounce.

the warm backlight is a 100,000 watt soft sun with full cto, along with 2 36 light medium dino lights on a dimmer.

the additional reds and green were added in foreground lights to add color spectrum to the overall feel.

the colorist tom poole completed the look by using tools to heighten the saturation and color contrast.

the cineovision anamorphic lenses help to blend these textures togethers while still appearing sharp.

it was a lot of fun to shoot because everyone was completely enjoying their character.