Two things I feel like pointing out:
1) the article is from 2016 (no idea why dpreview all of a sudden re-posts all these old articles on the front page
Which doesn't necessarily make the article less interesting - it just helps to know for context...
(eg the quantum film stuff? I haven't heard much of that in a long time
2) as someone who works in visual effects it bugged me a bit at the time (well it still bugs me clearly
) that they made such a big deal about the "filmed in available light" thing - without mentioning the considerable amount of work that happened in color grading during post-production... where lots of highly detailed, hand-animated mattes were created in order to color-correct the footage of the entire film...
The only source mentioning this is a case study published by the postproduction facility (to showcase their invisible work).
This case study is not online anymore - but archive.org/wayback machine to the rescue
"a team of 10 visual effects artists under Spilatro’s supervision worked to hand-animate mattes and use them to perform roto work on faces, bodies, and other elements photographed by Lubezki in order to assure that directional key light, backlight, or shadows were hitting exactly where Lubezki wanted them to hit, and moving correctly with corresponding body parts or elements in a natural way so that viewers would be unable to detect any manipulation had ever occurred."
The result of course is still a beautiful achievement! I don't want to take away any of Lubezki's skill or artistry.
I just get slightly disappointed when filmmakers don't admit to doing visual effects or post-production work (like if that was a bad thing)...