American Cinematographer - September 2016 - 49
Grace and her father marvel at the sight of Elliot.
Natalie's room, one of which I put a
warmer-toned shade on to create a
mismatched combination of color tones.
"It was intriguing to apply a really
naturalistic lighting approach to the
places where the characters live," he
continues. "I wanted it to be a challenge
and an exercise in the decision-making
process - to see what would be the
minimal amount of equipment needed
to achieve a realistic and interestinglooking film. For night interiors, I started
by lighting the rooms with practical
lights, lamps and chandeliers. In some
cases when more shape was needed, I'd
bounce a Source Four light into the hard
ceiling or the wall draped in unbleached
muslin, and that was it. It was about
using the practicals to light the set as it
would really be in real life. That, along
with daylight for day interiors and the
beautiful color palette of the sets and
costumes, made for a really beautiful
look."
Indeed, the filmmakers even
utilized natural daylight for the sets built
onstage. "We lit the daylight interiors by
opening the big stage doors and letting
in natural sunlight," Bazelli says. "For a
scene when Pete is waking up and is
visited by Grace, for example, we shot in
three setups, and it was all lit on stage
with natural light coming in from
outside."
Due to the limited time that a
child performer can spend on set, the
production extended "Pete's" working
hours by employing several body doubles
to stand in for Fegley in over-theshoulder and wide shots. Even so, there
were limitations that the production
could not avoid. "The best light of day
was not always available with our
schedule, and we didn't have the luxury
of waiting to shoot, because we would
lose our lead actor five hours after call,"
Bazelli explains. "We had to cheat now
and then, and know when we could 'fix
it in post.'
"I will often shoot a little brighter
to bring things down later, but we
pushed that concept a bit further with
Pete's Dragon," the cinematographer
continues. "It was never as dramatic as
taking a full sunny shot and converting
it to moonlight, but we had to
occasionally take the shadows of the
forest and change them to evening; we
would shoot in the afternoon and know
that the scene would be played for dusk.
For those scenes we'd avoid seeing any
sun in the frame as much as possible and
rely on medium shots where the sun isn't
playing into the scene. Then, in the final
49
http://flugfilms.com
American Cinematographer - September 2016
Table of Contents for the Digital Edition of American Cinematographer - September 2016
Contents
American Cinematographer - September 2016 - Intro
American Cinematographer - September 2016 - Cover1
American Cinematographer - September 2016 - Cover2
American Cinematographer - September 2016 - 1
American Cinematographer - September 2016 - 2
American Cinematographer - September 2016 - Contents
American Cinematographer - September 2016 - 4
American Cinematographer - September 2016 - 5
American Cinematographer - September 2016 - 6
American Cinematographer - September 2016 - 7
American Cinematographer - September 2016 - 8
American Cinematographer - September 2016 - 9
American Cinematographer - September 2016 - 10
American Cinematographer - September 2016 - 11
American Cinematographer - September 2016 - 12
American Cinematographer - September 2016 - 13
American Cinematographer - September 2016 - 14
American Cinematographer - September 2016 - 15
American Cinematographer - September 2016 - 16
American Cinematographer - September 2016 - 17
American Cinematographer - September 2016 - 18
American Cinematographer - September 2016 - 19
American Cinematographer - September 2016 - 20
American Cinematographer - September 2016 - 21
American Cinematographer - September 2016 - 22
American Cinematographer - September 2016 - 23
American Cinematographer - September 2016 - 24
American Cinematographer - September 2016 - 25
American Cinematographer - September 2016 - 26
American Cinematographer - September 2016 - 27
American Cinematographer - September 2016 - 28
American Cinematographer - September 2016 - 29
American Cinematographer - September 2016 - 30
American Cinematographer - September 2016 - 31
American Cinematographer - September 2016 - 32
American Cinematographer - September 2016 - 33
American Cinematographer - September 2016 - 34
American Cinematographer - September 2016 - 35
American Cinematographer - September 2016 - 36
American Cinematographer - September 2016 - 37
American Cinematographer - September 2016 - 38
American Cinematographer - September 2016 - 39
American Cinematographer - September 2016 - 40
American Cinematographer - September 2016 - 41
American Cinematographer - September 2016 - 42
American Cinematographer - September 2016 - 43
American Cinematographer - September 2016 - 44
American Cinematographer - September 2016 - 45
American Cinematographer - September 2016 - 46
American Cinematographer - September 2016 - 47
American Cinematographer - September 2016 - 48
American Cinematographer - September 2016 - 49
American Cinematographer - September 2016 - 50
American Cinematographer - September 2016 - 51
American Cinematographer - September 2016 - 52
American Cinematographer - September 2016 - 53
American Cinematographer - September 2016 - 54
American Cinematographer - September 2016 - 55
American Cinematographer - September 2016 - 56
American Cinematographer - September 2016 - 57
American Cinematographer - September 2016 - 58
American Cinematographer - September 2016 - 59
American Cinematographer - September 2016 - 60
American Cinematographer - September 2016 - 61
American Cinematographer - September 2016 - 62
American Cinematographer - September 2016 - 63
American Cinematographer - September 2016 - 64
American Cinematographer - September 2016 - 65
American Cinematographer - September 2016 - 66
American Cinematographer - September 2016 - 67
American Cinematographer - September 2016 - 68
American Cinematographer - September 2016 - 69
American Cinematographer - September 2016 - 70
American Cinematographer - September 2016 - 71
American Cinematographer - September 2016 - 72
American Cinematographer - September 2016 - 73
American Cinematographer - September 2016 - 74
American Cinematographer - September 2016 - 75
American Cinematographer - September 2016 - 76
American Cinematographer - September 2016 - 77
American Cinematographer - September 2016 - 78
American Cinematographer - September 2016 - 79
American Cinematographer - September 2016 - 80
American Cinematographer - September 2016 - 81
American Cinematographer - September 2016 - 82
American Cinematographer - September 2016 - 83
American Cinematographer - September 2016 - 84
American Cinematographer - September 2016 - 85
American Cinematographer - September 2016 - 86
American Cinematographer - September 2016 - 87
American Cinematographer - September 2016 - 88
American Cinematographer - September 2016 - 89
American Cinematographer - September 2016 - 90
American Cinematographer - September 2016 - 91
American Cinematographer - September 2016 - 92
American Cinematographer - September 2016 - 93
American Cinematographer - September 2016 - 94
American Cinematographer - September 2016 - 95
American Cinematographer - September 2016 - 96
American Cinematographer - September 2016 - 97
American Cinematographer - September 2016 - 98
American Cinematographer - September 2016 - 99
American Cinematographer - September 2016 - 100
American Cinematographer - September 2016 - 101
American Cinematographer - September 2016 - 102
American Cinematographer - September 2016 - 103
American Cinematographer - September 2016 - 104
American Cinematographer - September 2016 - 105
American Cinematographer - September 2016 - 106
American Cinematographer - September 2016 - 107
American Cinematographer - September 2016 - 108
American Cinematographer - September 2016 - 109
American Cinematographer - September 2016 - 110
American Cinematographer - September 2016 - 111
American Cinematographer - September 2016 - 112
American Cinematographer - September 2016 - Cover3
American Cinematographer - September 2016 - Cover4
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