American Cinematographer - September 2004 - 46

shooting days, but they were spread

actor's face and whatever

was

behind

five

it to show the' connection between

stages of the shoot: spring, summer,
fall, winter and then spring," Sopov

character and environment. To that

details.

with

over

15 months. "There

"Essentially,

we

were

broke for

the seasons."
For

Sopov, the toughest part
proved to be winter in
the mountains. Temperatures dipped
to -5°F, causing the film stock to
break in the cameras. Shooting in
the snow at night brought additional
problems. "The snow bounces the
light right back at you," he remarks,
shaking his head. "If you aren't care¬
ful, it's easy to tell that the source of
the light is artificial." In a bid to
avoid that, he floated a 13'-wide

helium balloon and bounced
Par ArriSun and

a

ArriSun off of it. The
a

1,2K and

a

a

6K

4K FIMI Par
crew

also used

few additional Par ArriSuns

2.5K,

50mm lens."

a

Given the

of the shoot

a

end, I tried to shoot almost all portraits

575-watt

-

-

a

to

beauty of the scenery,
Sopov was concerned that he not
shoot just a bunch of "pretty post¬
cards." His goal was to include the
natural surroundings but keep the
focus

on

Signed,
Sealed,
Delivered
Signed DVDs
to add to your

collection

the actors. "I'd like to credit

second unit, Jaroslav Malt and
Martin Matyas, for their understanding

our

and sensitive work," he adds.

Sopov confesses that his main
giving the picture "conti¬
nuity of vision." Fie adds, "The simplic¬
ity of de La Tour's compositions
inspired me to keep my compositions
simple and framed around the center.
concern was

That allowed

me

concentrate more on

convey

the freedom to

using lighting to

mood."

■

bring out detail far in the back¬
ground.
The

landscape was another
important element in the characters'
lives and also influenced Sopov's
choice of lenses. "When you put

long way from your
long lens for closeups, the faces just cut out from the
background. I felt it was important
to see the relationship between the
your camera a
actor and

use a

Gerlitz Lesson
Due to

munication

a

miscom-

with

20th

Century Fox, Kerry FTayes
was
erroneously credited
as the unit still
photogra¬
pher on I, Robot in our
July coverage of that
movie

("Murder

01,"

page 46). In fact, Ava
Gerlitz shot all of the unit

photography. AC regrets
the

error.

order online at
www.theasc.com



American Cinematographer - September 2004

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