CHRISTIAN SCREENPLAYS WANTED 2016 ISO
CHRISTIAN SCREENPLAYS WANTED 2016 SERIES

On day one of prep he wanted Murai to watch it. As an audience member you felt like you were dreaming watching the film,вЂќ says Sprenger. It was so experimental in the way it was shot, in the way it was covered, in the way it was edited. вЂњI saw a midnight screening at Sundance a few years ago and had a borderline religious experience watching it. The mood of it reminded the cinematographer of the film Memphis directed by Tim Sutton. The whole show has this fluid tone identity where there were these goofy elements, these dreamy-realism elements and then this harsh reality,вЂќ says Sprenger. вЂњThe pilot read in a very interesting way where I couldnвЂ™t quite nail down the tone. Pace and tone was another topic of conversation for the visual storytellers. It was a totally seamless way to work and integral for the look of the show.вЂќ

We did it all of it on set and had a post PA send everything out to Los Angeles. вЂњWe essentially didnвЂ™t work with a post house. Being able to see our noise floor and see where the bottom was without completely destroying the image was very helpful.вЂќД¬redit: Guy D'Alema/FX Using a combination of DaVinici Resolve and Pomfort LiveGrade, they built custom curves to apply to the Rec.709 image and would then send those baked images out for dailies and editorial use. We were shooting dark complexions and a lot of times night exteriors so our DIT Chris Hoyle would live grade the images back up those three or four stops to normal exposure to see what it was going to look like. вЂњIt was very challenging in terms of digital cinematography. Sometimes it was almost completely black,вЂќ describes Sprenger. The real trick during shooting was trying to see what was in the eyepiece.

CHRISTIAN SCREENPLAYS WANTED 2016 ISO

вЂњWe were pushing the ISO and underexposing so far. On set, they lit using light meters and mounted Teradek COLR boxes on the cameras for real-time color grading control. Sometimes it was almost completely black.' 'The real trick during shooting was trying to see what was in the eyepiece. We did quite a bit of camera testing with help from A camera 1st AC Justin Watson, andВ sent those tests to our incredible colorist Ricky Gausis at MPC Los Angeles for his thoughts to make sure we were in a good place,вЂќ Sprenger explains. вЂњWe definitely had the idea to muck up the image as best as we could without being too detrimental to the final quality. Shot on ARRI Amira cameras using Kowa Cine Prominar lenses, Sprenger bumped the ISO to 1280 or 1600 and underexposed up to three or four stops.

CHRISTIAN SCREENPLAYS WANTED 2016 SERIES

While the two wanted the series style to come from the story and the emotional plot, they did use an underexposing technique for the visuals. вЂњEmbrace the imperfections and let those things shape the reality of the show.вЂќ That sort of became our mantra on this project,вЂќ notes Sprenger. Those become the things you fall in love with. вЂњWhat I believe we all love about shooting film are the imperfections you donвЂ™t have control over. вЂњEmbrace the imperfections and let those things shape the reality of the show.вЂќД®arnest Marks (Donald Glover), Alfred Miles (Brian Tyree Henry) and Darius (Keith Standfield) Credit: Guy D'Alema/FX In the interview, Sprenger pitched the idea of making AtlantaвЂ™s visuals simple and as true as possible without getting caught up in the minutiae of lighting everyoneвЂ™s face perfectly or getting the perfect matching coverage. I didnвЂ™t think I was going to get the job, but an hour later they called to offer it to me. вЂњI interviewed over the phone with Donald and Hiro on my lunch break. Glover created and wrote the pilot, with Paul Simms and Dianne McGunigle executive producing, but it was the directing of Hiro Murai that gave it its distinct flavor. It follows Earn (Glover) whoвЂ™s essentially a homeless, broke father balancing his life with his girlfriend Van (Zazie Beetz) while hustling to manage his cousin Alfred aka Paper Boi (Brian Tyree Henry), an up-and-coming rapper. My agent soft-pitched it to me and I was like, 'holy shit that sounds incredible.' When I came home and read the script, it exceeded my initial excitement.вЂќДЄfter having watched the first handful of episodes, my sentiments are nearly identical. вЂњI remember getting the phone call while I was with my gaffer Cody Jacobs. The day cinematographer Christian Sprenger found out about Donald GloverвЂ™s new show Atlanta, he was working on the set of a Wendy's commercial. The shooter lensed Donald Glover's new FX series with an eye toward simplicity and truth.

Christian screenplays wanted 2016