American Cinematographer - December 2003 - 51
"We had
up with
creative uses for the gear,"
notes Baumgartner, who rented his
lighting package from Illumination
Dynamics in Charlotte, North
Carolina. "A lot of the lighting [on
this show] had to be done from
outside or up high inside to avoid
having a lot of stands around. We
often used larger Fresnels [Arri
18Ks], usually with a large Chimera,
either off a Condor or a platform.
"Both Rodrigo and I have
become big fans of the Arri X Light,"
he adds. "We found that it provides
an
incredibly powerful HMI source
that can get very soft very quickly
and doesn't take up a lot of room.
The film's rectory location, for
some
to
come
very
sunlight
coming
through the
keep it off of the
person he's with. After the accident,
which sparks his downfall, I stopped
doing that."
windows but would
Outside the windows in such
scenes,
create
6K
or
12K HMI Pars would
hot spots
that Prieto would
by up to six stops to
the blooming effect. "I had
overexpose
enhance
to
be careful, because when you overĀ¬
expose something by two stops, the
bleach-bypass process immediately
blows away the detail," he cautions.
"Sometimes I'd put up a light that
was
good and bright to my eye, but
then I'd have
to tone
make the result
it down
more
a
bit
to
realistic."
Though the cinematographer is "not
a big fan" of diffusion on the lens,
Inarritu's filming preferences often
necessitated it. "One of the things
instance, had windows on both sides.
On one side, for the sun source, we
primarily used 18Ks and 12K Pars.
For the fill light coming from the
other side,
we
traced the windows
and put a 4K Arri X behind each one.
Those units gave us a very natural
bounce-back
light
-
kind of like
what you would get using an HMI
Par and an 8-by-8 frame. We got that
same
quality without taking
up a
lot
of space."
As
the
lighting was being
designed, the picture's evolving
visual scheme also had
ered.
Prieto
offers
to
be considĀ¬
example:
his new heart and is
feeling better, I was going for a
sunlight effect as much as I could -
overexposing and having blown-out
sunlight coming in. For different
reasons, I did a similar thing with
an
"When Paul gets
lack." In lack's earlier
scenes, we see
"Every frame of the film is ravishingly beautiful,
thanks to Eduardo Serra's cinematography."
him
counseling a troubled young
man at a
community center and
praying with his family in church.
For these sequences and others,
Prieto used a Rosco Soft Frost gel on
the
camera to
"bloom and blow out"
windows in the frame. He
explains,
"Using that filter gave me an almost
godly religious intensity, a sense of
Jack believing in the holiness of his
Moira Macdonald. Seattle Times
"The film's look, in cinematographer Eduardo
Serra's exceptionally skilled hands, is that of
a Vermeer painting from beginning to end.
GIRL WITH A
PEARL EARRING
life's mission. On interiors, I would
Hugely evocative, the studied approach of
approximating the Vermeer look, with light
slanting in from the side, never feels stilted
or fussy, and an emotionally climactic zoom
in on Griet striking her pose for the picture,
earring finally in place, is breathtaking."
Todd
purposefully light Benicio with the
For
screening info, please call (310) 581-7350
or
McCarthy. Variety
visit www.lionsgateawards.com
American Cinematographer - December 2003
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