American Cinematographer - January 2016 - 80
◗
Battle Tested
Cast and crew
prepare for
action on "The
Scottish Film."
looks like an old Japanese samurai film.
[Laughs.] I underexposed so far that
my DIT, Peter Marsden, wondered
about the dark areas. He said, 'I don't
know if there's anything in there,' which
was sort of scary. But I love that look on
[digital], when you expose it under and
then you have to crank it up, having to
lift the shadows. You increase the
contrast, because you end up stretching
80
the file a lot when you push the highlights. I think it's a really interesting
look, similar to paintings when they age
a lot.
Which painters were you influenced by?
Arkapaw: With a film like this,
which is quite macabre, I think of
Rembrandt and Caravaggio.
How did you light the banquet?
Arkapaw: We put LEDs up in the
arches on the back walls to bring out the
architecture. We had four tungsten
balloons overhead, but we had to keep
their level very low so that the highlights
in the background and the candles in the
room stood out enough. That's how the
underexposure worked out.
We ran the whole scene through
from a number of angles. We just started
to dolly with a stabilized head - something I love to do - which freed us to
take the camera anywhere on the set, and
luckily the floor was flat enough for the
stabilized head to take out all the bumps.
Because the scene is really centered on
Michael Fassbender's performance, we
started on a tight shot of Michael, and he
played it through, doing eight-minute
takes of the whole scene. As the takes
went on, we figured out a shot that
covered his whole performance. It was
really fun to choreograph, figuring out
how to work the dolly around and fit in
all the places in the room.
http://www.ovidesmart.com
http://www.in2core.com
Table of Contents for the Digital Edition of American Cinematographer - January 2016
Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
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American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
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American Cinematographer - January 2016 - 40
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American Cinematographer - January 2016 - 43
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American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
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American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
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American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
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American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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