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

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    JUL 2, 2018 - EFilm Hosts Student Filmmakers from the Sundance Ignite Program
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    JUN 20, 2018 - EFILM and Encore saddle up for epic modern-Western series Yellowstone
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    JUN 4, 2018 - EFILM heads to Skywalker Ranch for Solo: A Star Wars Story
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    JUN 1, 2018 - EFILM helps bring 80s sci-fi look to BH Tilt thriller Upgrade
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  • MAY 29, 2018 - Cinematic Chaos: EFILM’s Skip Kimball Takes on Fox’s “Deadpool 2”
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    MAY 4, 2018 - EFILM Senior Colorist Natasha Leonnet Continues Longstanding Collaboration with Acclaimed Director Jason Reitman on New Comedy from Focus Features, Tully.
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    APR 14, 2018 - EFILM SUPPORTS YOUNG FILMMAKERS IN COCA-COLA AND REGAL FILMS PROGRAM
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    APR 4, 2018 - Skip Kimball Joins EFILM as Senior Colorist
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    MAR 5, 2018 - Congratulations, Roger Deakins On Your Oscar Win!
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  • JAN 23, 2018 - EFILM Congratulates Oscar Nominated Clients and Colleagues
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    JAN 9, 2018 - EFILM Colors Features, Documentaries, Shorts and Short-Form Series Eps for Sundance
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    DEC 21, 2017 - EFILM Delivers a World of Color for Blue Sky’s ‘Ferdinand’
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    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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