New series - Pan Am

[James B.]

hi
I for one am loving the lighting, art direction and color grading on the new TV series Pan Am. Anyone know the particulars? Shot on film or? Post workflow?

 

[Ariel Weiss]

http://www.imdb.com/title/tt1826805/technical

alexa.
you put on google the name and imdb and go to technical info

 

[Douglas Learner]

James, interesting article over at fxguide on the extensive use of green screens for 'location' shots: http://www.fxguide.com/featured/pan-am-retro-green-screen-world/

d

 

[Adrian Correia]

Seems as if almost all TV now is being shot on Alexa

 

[M Most]

hi
I for one am loving the lighting, art direction and color grading on the new TV series Pan Am. Anyone know the particulars? Shot on film or? Post workflow?

Shot in New York on Alexa by Ron Fotunato (pilot was shot by John Lindley, also in NY, also on Alexa). Posted in Los Angeles (Burbank, actually..) at Level 3 Post. Colorist is George Manno, with a bit of assist from me. Grading done on DaVinci Resolve.

I give a lot of credit for the overall look of the show to Ron, but also to the art department as well as the wardrobe department, hairstyling, and transportation. All of the production departments, in fact. Without those contributions, no amount of color grading works.

 

[Brandon Kraemer]

I'm assuming they are shooting and grading RAW and not prores, is this correct?

 

[M Most]

Seems as if almost all TV now is being shot on Alexa

Yes, that is the situation. This year.

 

[M Most]

I'm assuming they are shooting and grading RAW and not prores, is this correct?

No. Everything is being recorded as ProRes4444 on SxS cards. There is no use of Arri Raw. Frankly, I don't know anyone who's recording Arri Raw for a television show.

 

[Marc Wielage]

I've worked on a few TV projects in the last year or two where they're shooting what I'd call "modified Rec709": being careful not to blow out the whites, and providing a little more fill light in order to reduce the contrast level. Later on, they crush down the mids and blow out the whites if requested by the post supervisor and producers. It helps if the final colorist is in communication with the DP, the AC, and the DIT on set to help ward off any problems before they happen.