Oct 2, 2017

Scaling the Color Challenges of The Mountain Between Us

The Mountain Between Us is a harrowing film, directed by Hany Abu-Assad, that concerns two strangers (Idris Elba and Kate Winslet) who survive a terrifying plane crash and trapped on a remote snowcapped mountain, where they must find it in themselves and in each other the strength to survive. Cinematographer Mandy Walker, ASC, ACS worked with Natasha Leonnet (their fourth collaboration) at EFILM, color grading the film, which Walker shot using a combination of ARRI 35 and 65 Alexa cameras, in great part under freezing conditions on a glacier at Invermere, BC.

 

“Shooting in snow can be some of the most difficult conditions,” Leonnet explains, “and Mandy wasn’t able to use any lighting equipment at all. But she found a lot of clever techniques to expose her ‘digital neg’ exactly the way she wanted to. In some cases, she even had the crew wear all white and positioned people to best reflect the sunlight.”

 

Much of the work Leonnet did with Walker involved fine tuning the bluish light as it really would appear in reality, nearly 11,000 feet above sea level. “She used different shades of blue to define time changes,” Leonnet elaborates. “Sometimes it’s lighter blue, sometimes it’s more cyanish and then it’s more blue-green than cyan. We also made very subtle changes to luminance levels to help define time of day and enhance a feel of whether the scene is overcast or not.

 

“As always,” Leonnet recalls, “it was wonderful working with Mandy. She is so precise with the way she shoots everything that the time we spend in the DI can be devoted to perfecting the imagery.”

 

Deluxe’s EC3 also four-walled a mini facility in Vancouver, BC where they graded all the footage and screened dailies for a major portion of the shoot.


SPOTLIGHTS ARCHIVE

  • NOV 20, 2017 - EFILM Hosts Sundance Institute with Rockin’ Party
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    NOV 1, 2017 - Film Independent launches “Detail Oriented” with Mitch Paulson Q/A
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    OCT 25, 2017 - Joachim Zell Joins Cinematographers to Teach Filmmaking Master Class in Dubai
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    SEP 27, 2017 - Congrats to Our Artists on Their HPA Nominations
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    SEP 20, 2017 - EFilm’s Tim Stipan Colors Provocative mother! at Company 3
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  • SEP 8, 2017 - Into the Shadows: Color on “It”
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    SEP 8, 2017 - EFilm at TIFF
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    AUG 23, 2017 - Water Colors
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    JUN 30, 2017 - EFILM'sMitch Paulson Looks at All Eyez
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    JUN 16, 2017 - Filmmakers Finish Project Involve Shorts at EFilm, Company 3
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  • APR 10, 2017 - NATASHA LEONNET HIGHLIGHTS HIDDEN FIGURES
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    MAR 17, 2017 - DELUXE'S EFILM HOSTS ASC MASTER CLASS EVENT
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    MAR 9, 2017 - EFILM Handles Color, Dailies for Multiple Oscar Winner, La La Land
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    FEB 23, 2017 - EFILM Colors Rogue One: A Star Wars Story
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    JAN 31, 2017 - EFILM Colors Sundance Films, Celebrates Indie Filmmaking
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  • JAN 26, 2017 - EFILM’s Natasha Leonnet Colors Best Picture-Nominated La La Land and Hidden Figures
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    JAN 13, 2017 - EFILM's Mitch Paulson Reteams with Jeff Nichols for Loving
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    JAN 12, 2017 - Dave Grove Promoted to SVP, Global Feature Sales
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    NOV 7, 2016 - Joachim "JZ" Zell Inducted into ASC
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    NOV 7, 2016 - Al Cleland Takes the Helm at EFILM
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  • SEP 8, 2016 - EFILM Proudly Supports All of Our Filmmakers at the Toronto International Film Festival
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    AUG 12, 2016 - EFILM Employs New VFX Workflow on Star Trek Beyond
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    APR 18, 2016 - EFilm's Weyron Henriques garners StudioDaily's top 50
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    FEB 3, 2016 - EFilm's The Big Short Garners Multiple Award Nominations and Wins
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    JAN 16, 2014 - Cinematographer Dean Semler, ASC, ACS Utilizes Company's Extensive Post Offerings for Grudge Match
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  • JUN 26, 2013 - EFILM Leads the way in Imaging Science
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    NOV 19, 2012 - Russell Carpenter Photo Exhibition
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    SEP 30, 2012 - Andrew Francis Discusses His Work on "Looper"
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    MAR 31, 2012 - Mitch Paulson on the Creative Challenges of "John Carter"
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