The LUT that was ultimately used was based on Kodak film-print emulation and also incorporated aspects similar to what happens in the toe of Fujifilm negative, while taking advantage of RedвЂ™s own color matrices as well. Supervising colorist Florian вЂUtsiвЂ™ Martin created the show LUT with me.вЂќД¬ast and crew work on a stage-bound desert set surrounded by bluescreen, with a day-blue muslin stretched overhead. вЂњWe shot a 15-minute sequence in prep to set a look,вЂќ FГ¶rderer says, вЂњand then tested that look on a number of different types of shots in our sequence to see how it held up. In prep, the cinematographer spent significant energy and time developing a one-look LUT that was used for monitoring on set throughout the entire film.

Both camera models recorded RedCode Raw at 5:1 compression to 512GB Red Mini-Mags. The Weapon was often employed in вЂњtight car interiors where the compact form factor allowed us to shoot with longer lenses inside the car,вЂќ he notes. For selected scenes when multiple cameras were rolling, he employed a prototype Red Weapon camera fitted with a 6K Dragon sensor. вЂњUsually you fight as a cinematographer to make interesting and darker, and the director will say, вЂI want to see the performance! I want to see their faces!вЂ™ But Roland would be like, вЂDarker! Darker!вЂ™ until there was almost no light hitting the sensor! The way to get away with that is to make sure you have the right kind of eye light -В then you can go dark and still be connected to the characters.вЂќДЇГ¶rderer shot 4K and 6K anamorphic on Red Epic Dragons for the bulk of the movie. вЂњFor Resurgence, Roland wanted a really dark look,вЂќ he continues. I know that movie inside and out I had it on VHS and I watched it hundreds of times as a kid.Д¬inematographer Markus FГ¶rderer, BVK (right) and camera operator Robby Baumgartner line up a shot. Independence Day was the film that sparked that in me. вЂњI started reading books and figured out that what I was really interested in was cinematography. вЂњI watched the first Independence Day in the theater with my sister and I thought, вЂOh, my God, this is amazing! I have to become a filmmaker!вЂ™вЂќ FГ¶rderer recalls. The original film (shot by Karl-Walter Lindenlaub, ASC, BVK AC July вЂ™96) has a particularly special place in the cinematographerвЂ™s heart. вЂњMy goal was to make it feel like an Independence Day film, but to give it its own character.вЂќ

вЂњThe main challenge of something like this is,В how do you make the movie look consistent in its own universe, but still have an interesting take and variety to it?вЂќ says FГ¶rderer. FГ¶rdererвЂ™s previous work includes the Mike Cahill-directed drama I Origins ( AC Sept.

Writer-director Roland Emmerich returned to helm this long-awaited sequel to his blockbuster action film -В this time with Markus FГ¶rderer, BVK at his side to bring the colossal tale to the big screen.

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