American Cinematographer - January 2008 - 53
Elswit explains that for interior scenes, he sought to “build the light level up enough so I could shoot with our 200-ASA stock and not underexpose, working at a T-stop of around 3.2. Things got tricky whenever Daniel was wearing his hat, because I had to somehow light his face under the brim without making it feel completely artificial. I tried to place the light far enough away from him and soften it with diffusion so it would feel like ambient room light. Usually, there was enough ambient light from the small sources in the scenes, like sconces and table lamps, that I could create a soft, directional light that didn’t feel flat. Sometimes I’d use a 2K aimed through muslin and whatever gel we picked. In some of the bigger sets, I just tried to hide a bunch of smaller units.” One of the more interesting interior setups was the small church where Rev. Sunday preaches to his flock with fire-and-brimstone fervor. Two major sequences take place in the church, one when it’s a humble structure, and another after the reverend has used oil money to expand it. In the first scene, Plainview watches Sunday perform a writhing, arm-flailing exorcism on an elderly woman. Baumgartner offers, “Bob and Paul really wanted to push the envelope in that setting. The church is supposed to be a very rudimentary structure built with walls constructed entirely of wooden slats, and you could see blown-out sky or landscape in the spaces between the boards. It wasn’t feasible to try to control that, so we had to build up the lighting inside.” To do this, the crew initially rigged four 6K Pars in the rafters, bouncing them into muslins to create a base level of light. Baumgartner notes, however, that “after Bob took a look at the setup during rehearsal, he felt it would be best to remove those units so he would have the freedom to shoot from more angles.” Ultimately, the crew built up the light level by using Arri 18K Fresnels and the punchy Arrimax Pars to push light through the windows and bounce light through the slats. Elswit reflects, “If I’d had a different director, I probably would have added a bit of fill in the corner behind us, which you wouldn’t have seen. It probably would have lifted the shadows, but I probably would have regretted it. As it was, there was never enough light to actually balance the exterior, so the windows just blew out. But we had enough light to shoot at a T3.2 or T3.5, which kept the light from flickering or flaring, and we got extraordinary blacks and a huge amount of contrast.” The later scene in the church, in which Plainview is forced to kneel before the congregation and confess his sins, takes place in a larger room with a muslin ceiling; the wooden FOR YOUR CONSIDERATION IN ALL CATEGORIES BEST PICTURE BEST CINEMATOGRAPHY PHILIPPE ROUSSELOT Artwork © 2007 The Weinstein Company. All Rights Reserved. Please visit www.WeinsteinCoHighlights.com for screening information 53
http://www.WeinsteinCoHighlights.com
http://www.WeinsteinCoHighlights.com
American Cinematographer - January 2008
Table of Contents for the Digital Edition of American Cinematographer - January 2008
American Cinematographer - January 2008
Contents
Editor's Note
Short Takes: Madame Tutli-Putli
Production Slate: The Diving Bell and the Butterfly, The Great Debaters
Blood for Oil
Very Close Shaves
A Rogue Politician
A Bulletproof Cinematographer
Post Focus: Restoring Days of Heaven, Achieving Color Symmetry, HPA Awards
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Roderick Ryan, ASC
Clubhouse News
ASC Close-Up: Glen MacPherson
American Cinematographer - January 2008 - Intro
American Cinematographer - January 2008 - American Cinematographer - January 2008
American Cinematographer - January 2008 - Cover2
American Cinematographer - January 2008 - 1
American Cinematographer - January 2008 - 2
American Cinematographer - January 2008 - Contents
American Cinematographer - January 2008 - 4
American Cinematographer - January 2008 - 5
American Cinematographer - January 2008 - 6
American Cinematographer - January 2008 - 7
American Cinematographer - January 2008 - Editor's Note
American Cinematographer - January 2008 - 9
American Cinematographer - January 2008 - Short Takes: Madame Tutli-Putli
American Cinematographer - January 2008 - 11
American Cinematographer - January 2008 - 12
American Cinematographer - January 2008 - 13
American Cinematographer - January 2008 - 14
American Cinematographer - January 2008 - 15
American Cinematographer - January 2008 - 16
American Cinematographer - January 2008 - 17
American Cinematographer - January 2008 - Production Slate: The Diving Bell and the Butterfly, The Great Debaters
American Cinematographer - January 2008 - 19
American Cinematographer - January 2008 - 20
American Cinematographer - January 2008 - 21
American Cinematographer - January 2008 - 22
American Cinematographer - January 2008 - 23
American Cinematographer - January 2008 - 24
American Cinematographer - January 2008 - 25
American Cinematographer - January 2008 - 26
American Cinematographer - January 2008 - 27
American Cinematographer - January 2008 - 28
American Cinematographer - January 2008 - 29
American Cinematographer - January 2008 - 30
American Cinematographer - January 2008 - 31
American Cinematographer - January 2008 - 32
American Cinematographer - January 2008 - 33
American Cinematographer - January 2008 - 34
American Cinematographer - January 2008 - 35
American Cinematographer - January 2008 - Blood for Oil
American Cinematographer - January 2008 - 37
American Cinematographer - January 2008 - 38
American Cinematographer - January 2008 - 39
American Cinematographer - January 2008 - 40
American Cinematographer - January 2008 - 41
American Cinematographer - January 2008 - 42
American Cinematographer - January 2008 - 43
American Cinematographer - January 2008 - 44
American Cinematographer - January 2008 - 45
American Cinematographer - January 2008 - 46
American Cinematographer - January 2008 - 47
American Cinematographer - January 2008 - 48
American Cinematographer - January 2008 - BRC1
American Cinematographer - January 2008 - BRC2
American Cinematographer - January 2008 - 49
American Cinematographer - January 2008 - 50
American Cinematographer - January 2008 - 51
American Cinematographer - January 2008 - 52
American Cinematographer - January 2008 - 53
American Cinematographer - January 2008 - 54
American Cinematographer - January 2008 - 55
American Cinematographer - January 2008 - Very Close Shaves
American Cinematographer - January 2008 - 57
American Cinematographer - January 2008 - 58
American Cinematographer - January 2008 - 59
American Cinematographer - January 2008 - 60
American Cinematographer - January 2008 - 61
American Cinematographer - January 2008 - 62
American Cinematographer - January 2008 - 63
American Cinematographer - January 2008 - 64
American Cinematographer - January 2008 - 65
American Cinematographer - January 2008 - 66
American Cinematographer - January 2008 - 67
American Cinematographer - January 2008 - 68
American Cinematographer - January 2008 - 69
American Cinematographer - January 2008 - A Rogue Politician
American Cinematographer - January 2008 - 71
American Cinematographer - January 2008 - 72
American Cinematographer - January 2008 - 73
American Cinematographer - January 2008 - 74
American Cinematographer - January 2008 - 75
American Cinematographer - January 2008 - 76
American Cinematographer - January 2008 - 77
American Cinematographer - January 2008 - 78
American Cinematographer - January 2008 - 79
American Cinematographer - January 2008 - 80
American Cinematographer - January 2008 - 81
American Cinematographer - January 2008 - A Bulletproof Cinematographer
American Cinematographer - January 2008 - 83
American Cinematographer - January 2008 - 84
American Cinematographer - January 2008 - 85
American Cinematographer - January 2008 - 86
American Cinematographer - January 2008 - 87
American Cinematographer - January 2008 - 88
American Cinematographer - January 2008 - 89
American Cinematographer - January 2008 - 90
American Cinematographer - January 2008 - 91
American Cinematographer - January 2008 - 92
American Cinematographer - January 2008 - 93
American Cinematographer - January 2008 - 94
American Cinematographer - January 2008 - 95
American Cinematographer - January 2008 - 96
American Cinematographer - January 2008 - 97
American Cinematographer - January 2008 - Post Focus: Restoring Days of Heaven, Achieving Color Symmetry, HPA Awards
American Cinematographer - January 2008 - 99
American Cinematographer - January 2008 - 100
American Cinematographer - January 2008 - 101
American Cinematographer - January 2008 - 102
American Cinematographer - January 2008 - 103
American Cinematographer - January 2008 - 104
American Cinematographer - January 2008 - 105
American Cinematographer - January 2008 - New Products & Services
American Cinematographer - January 2008 - 107
American Cinematographer - January 2008 - 108
American Cinematographer - January 2008 - 109
American Cinematographer - January 2008 - 110
American Cinematographer - January 2008 - 111
American Cinematographer - January 2008 - 112
American Cinematographer - January 2008 - 113
American Cinematographer - January 2008 - 114
American Cinematographer - January 2008 - 115
American Cinematographer - January 2008 - 116
American Cinematographer - January 2008 - 117
American Cinematographer - January 2008 - International Marketplace
American Cinematographer - January 2008 - Classified Ads
American Cinematographer - January 2008 - Ad Index
American Cinematographer - January 2008 - In Memoriam: Roderick Ryan, ASC
American Cinematographer - January 2008 - Clubhouse News
American Cinematographer - January 2008 - 123
American Cinematographer - January 2008 - ASC Close-Up: Glen MacPherson
American Cinematographer - January 2008 - Cover3
American Cinematographer - January 2008 - Cover4
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