American Cinematographer - September 2004 - 60

Opposite:
Ernesto Guevara
de la Serna (Gael
Garcia Bernal)
and Alberto

Granado

(Rodrigo de la
Serna) feel

an

exhilarating
sense

after

of freedom

they

embark upon an

epic motorcycle
ride through
South America.
"When

they are
leaving their
familiar

surroundings in
big city, their

the

attitude is
carefree and

innocent,"
remarks

cinematographer
Eric Gautier,

AFC. This page:

Although the film
is filled with
lush scenery,
Gautier often

innocent. To reflect that

which

stuck with

matters

visually, we
dolly tracks and long

lenses, and I used Tiffen White ProMist filters to soften contrast." On

the road, Guevara and Granado
into contact with

people who
have led very different lives from the
one they know. As they wrestle with
come

new

ideas, the film becomes

frequently
of

came

contrast.

down to

"I wanted to

challenge the idea that directors of
photography aren't responsible for
the image on exteriors," he says. At
the

same

time, he wanted to avoid

the standard

by pushing keeps
the images from being too beauti¬
fully clean, which suits the story," he

pushed his
"keep
the images from
being too
beautifully

observes.

clean."

in color created

Given

the

production's

locations, the filmmakers
didn't have access to dailies of any
remote

kind, but Gautier maintained

more

technique of using fill
light with large sources. The key was
to master contrast by adapting the

the telecine-transfer person

stant

con¬

e-mail communication with

colorful and

more

intimate. Gautier

format, film stock, exposure, camera

switched

handheld camerawork

angle and degree of overdevelop¬

and his
regular color timer, Isabelle Julien, at

each location. "The increase

Eclair Laboratories in France. "I

to

and "moved closer to the

people I
was shooting, relying on wider lens¬
es to increase the sense of intimacy. I
also added

more

and

more

ment to

stocks to

contrast,

mainly by overexposing to get a
thicker negative and higher printer
lights and overdeveloping the film
stock to create a harder image. With
modern stocks, you don't gain more
than half a stop by pushing, but you
can

obtain

an

increase in contrast

and color saturation."

Feoactcuorufsrt.esy
Phot s

Roughly 85 percent of
Motorcycle Diaries is exterior work,
and the South American weather

the filmmakers a mix of harsh
sunlight, overcast skies, rain and
even snow. Gautier strove to give
each location a subtly different look,

gave

American

Cinematographer 47



American Cinematographer - September 2004

Table of Contents for the Digital Edition of American Cinematographer - September 2004

American Cinematographer - September 2004 - 1
American Cinematographer - September 2004 - 2
American Cinematographer - September 2004 - 3
American Cinematographer - September 2004 - 4
American Cinematographer - September 2004 - 5
American Cinematographer - September 2004 - 6
American Cinematographer - September 2004 - 7
American Cinematographer - September 2004 - 8
American Cinematographer - September 2004 - 9
American Cinematographer - September 2004 - 10
American Cinematographer - September 2004 - 11
American Cinematographer - September 2004 - 12
American Cinematographer - September 2004 - 13
American Cinematographer - September 2004 - 14
American Cinematographer - September 2004 - 15
American Cinematographer - September 2004 - 16
American Cinematographer - September 2004 - 17
American Cinematographer - September 2004 - 18
American Cinematographer - September 2004 - 19
American Cinematographer - September 2004 - 20
American Cinematographer - September 2004 - 21
American Cinematographer - September 2004 - 22
American Cinematographer - September 2004 - 23
American Cinematographer - September 2004 - 24
American Cinematographer - September 2004 - 25
American Cinematographer - September 2004 - 26
American Cinematographer - September 2004 - 27
American Cinematographer - September 2004 - 28
American Cinematographer - September 2004 - 29
American Cinematographer - September 2004 - 30
American Cinematographer - September 2004 - 31
American Cinematographer - September 2004 - 32
American Cinematographer - September 2004 - 33
American Cinematographer - September 2004 - 34
American Cinematographer - September 2004 - 35
American Cinematographer - September 2004 - 36
American Cinematographer - September 2004 - 37
American Cinematographer - September 2004 - 38
American Cinematographer - September 2004 - 39
American Cinematographer - September 2004 - 40
American Cinematographer - September 2004 - 41
American Cinematographer - September 2004 - 42
American Cinematographer - September 2004 - 43
American Cinematographer - September 2004 - 44
American Cinematographer - September 2004 - 45
American Cinematographer - September 2004 - 46
American Cinematographer - September 2004 - 47
American Cinematographer - September 2004 - 48
American Cinematographer - September 2004 - 49
American Cinematographer - September 2004 - 50
American Cinematographer - September 2004 - 51
American Cinematographer - September 2004 - 52
American Cinematographer - September 2004 - 53
American Cinematographer - September 2004 - 54
American Cinematographer - September 2004 - 55
American Cinematographer - September 2004 - 56
American Cinematographer - September 2004 - 57
American Cinematographer - September 2004 - 58
American Cinematographer - September 2004 - 59
American Cinematographer - September 2004 - 60
American Cinematographer - September 2004 - 61
American Cinematographer - September 2004 - 62
American Cinematographer - September 2004 - 63
American Cinematographer - September 2004 - 64
American Cinematographer - September 2004 - 65
American Cinematographer - September 2004 - 66
American Cinematographer - September 2004 - 67
American Cinematographer - September 2004 - 68
American Cinematographer - September 2004 - 69
American Cinematographer - September 2004 - 70
American Cinematographer - September 2004 - 71
American Cinematographer - September 2004 - 72
American Cinematographer - September 2004 - 73
American Cinematographer - September 2004 - 74
American Cinematographer - September 2004 - 75
American Cinematographer - September 2004 - 76
American Cinematographer - September 2004 - 77
American Cinematographer - September 2004 - 78
American Cinematographer - September 2004 - 79
American Cinematographer - September 2004 - 80
American Cinematographer - September 2004 - 81
American Cinematographer - September 2004 - 82
American Cinematographer - September 2004 - 83
American Cinematographer - September 2004 - 84
American Cinematographer - September 2004 - 85
American Cinematographer - September 2004 - 86
American Cinematographer - September 2004 - 87
American Cinematographer - September 2004 - 88
American Cinematographer - September 2004 - 89
American Cinematographer - September 2004 - 90
American Cinematographer - September 2004 - 91
American Cinematographer - September 2004 - 92
American Cinematographer - September 2004 - 93
American Cinematographer - September 2004 - 94
American Cinematographer - September 2004 - 95
American Cinematographer - September 2004 - 96
American Cinematographer - September 2004 - 97
American Cinematographer - September 2004 - 98
American Cinematographer - September 2004 - 99
American Cinematographer - September 2004 - 100
American Cinematographer - September 2004 - 101
American Cinematographer - September 2004 - 102
American Cinematographer - September 2004 - 103
American Cinematographer - September 2004 - 104
American Cinematographer - September 2004 - 105
American Cinematographer - September 2004 - 106
American Cinematographer - September 2004 - 107
American Cinematographer - September 2004 - 108
American Cinematographer - September 2004 - 109
American Cinematographer - September 2004 - 110
American Cinematographer - September 2004 - 111
American Cinematographer - September 2004 - 112
American Cinematographer - September 2004 - 113
American Cinematographer - September 2004 - 114
American Cinematographer - September 2004 - 115
American Cinematographer - September 2004 - 116
American Cinematographer - September 2004 - 117
American Cinematographer - September 2004 - 118
American Cinematographer - September 2004 - 119
American Cinematographer - September 2004 - 120
American Cinematographer - September 2004 - 121
American Cinematographer - September 2004 - 122
American Cinematographer - September 2004 - 123
American Cinematographer - September 2004 - 124
American Cinematographer - September 2004 - 125
American Cinematographer - September 2004 - 126
American Cinematographer - September 2004 - 127
https://www.nxtbook.com/nxtbooks/ac/ac1209
https://www.nxtbook.com/nxtbooks/ac/ac1109
https://www.nxtbook.com/nxtbooks/ac/ac1009
https://www.nxtbook.com/nxtbooks/ac/ac0909
https://www.nxtbook.com/nxtbooks/ac/ac0809
https://www.nxtbook.com/nxtbooks/ac/ac0709
https://www.nxtbook.com/nxtbooks/ac/ac0609
https://www.nxtbook.com/nxtbooks/ac/ac0509
https://www.nxtbook.com/nxtbooks/ac/ac0409
https://www.nxtbook.com/nxtbooks/ac/ac0309
https://www.nxtbook.com/nxtbooks/ac/ac0209
https://www.nxtbook.com/nxtbooks/ac/ac0109
https://www.nxtbook.com/nxtbooks/ac/ac1208
https://www.nxtbook.com/nxtbooks/ac/ac1108
https://www.nxtbook.com/nxtbooks/ac/ac1008
https://www.nxtbook.com/nxtbooks/ac/ac0908
https://www.nxtbook.com/nxtbooks/ac/ac0808
https://www.nxtbook.com/nxtbooks/ac/ac0708
https://www.nxtbook.com/nxtbooks/ac/ac0608
https://www.nxtbook.com/nxtbooks/ac/ac0508
https://www.nxtbook.com/nxtbooks/ac/ac0408
https://www.nxtbook.com/nxtbooks/ac/ac0308
https://www.nxtbook.com/nxtbooks/ac/ac0208
https://www.nxtbook.com/nxtbooks/ac/ac0108
https://www.nxtbook.com/nxtbooks/ac/ac1207
https://www.nxtbook.com/nxtbooks/ac/ac1107
https://www.nxtbook.com/nxtbooks/ac/ac1007
https://www.nxtbook.com/nxtbooks/ac/ac0907
https://www.nxtbook.com/nxtbooks/ac/ac0807
https://www.nxtbook.com/nxtbooks/ac/ac0707
https://www.nxtbook.com/nxtbooks/ac/ac0607
https://www.nxtbook.com/nxtbooks/ac/ac0507
https://www.nxtbook.com/nxtbooks/ac/ac0407
https://www.nxtbook.com/nxtbooks/ac/ac0307
https://www.nxtbook.com/nxtbooks/ac/acbest2006
https://www.nxtbook.com/nxtbooks/ac/ac0207
https://www.nxtbook.com/nxtbooks/ac/ac0107
https://www.nxtbook.com/nxtbooks/ac/ac200612
https://www.nxtbook.com/nxtbooks/ac/ac200611
https://www.nxtbook.com/nxtbooks/ac/ac200610
https://www.nxtbook.com/nxtbooks/ac/ac200609
https://www.nxtbook.com/nxtbooks/ac/ac200608
https://www.nxtbook.com/nxtbooks/ac/ac200607
https://www.nxtbook.com/nxtbooks/ac/ac200606
https://www.nxtbook.com/nxtbooks/ac/ac200605
https://www.nxtbook.com/nxtbooks/ac/ac200604
https://www.nxtbook.com/nxtbooks/ac/ac200603
https://www.nxtbook.com/nxtbooks/ac/ac200602
https://www.nxtbook.com/nxtbooks/ac/ac200601
https://www.nxtbook.com/nxtbooks/ac/ac200512
https://www.nxtbook.com/nxtbooks/ac/ac200511
https://www.nxtbook.com/nxtbooks/ac/ac200510
https://www.nxtbook.com/nxtbooks/ac/ac200509
https://www.nxtbook.com/nxtbooks/ac/ac200508
https://www.nxtbook.com/nxtbooks/ac/ac200507
https://www.nxtbook.com/nxtbooks/ac/ac200506
https://www.nxtbook.com/nxtbooks/ac/ac200505
https://www.nxtbook.com/nxtbooks/ac/ac200504
https://www.nxtbook.com/nxtbooks/ac/ac200503
https://www.nxtbook.com/nxtbooks/ac/ac200502
https://www.nxtbook.com/nxtbooks/ac/ac200501
https://www.nxtbook.com/nxtbooks/ac/ac200412
https://www.nxtbook.com/nxtbooks/ac/ac200411
https://www.nxtbook.com/nxtbooks/ac/ac200410
https://www.nxtbook.com/nxtbooks/ac/ac200409
https://www.nxtbook.com/nxtbooks/ac/ac200408
https://www.nxtbook.com/nxtbooks/ac/ac200407
https://www.nxtbook.com/nxtbooks/ac/ac200406
https://www.nxtbook.com/nxtbooks/ac/ac200405
https://www.nxtbook.com/nxtbooks/ac/ac200404
https://www.nxtbook.com/nxtbooks/ac/ac200403
https://www.nxtbook.com/nxtbooks/ac/ac200402
https://www.nxtbook.com/nxtbooks/ac/ac200401
https://www.nxtbook.com/nxtbooks/ac/ac200312
https://www.nxtbook.com/nxtbooks/ac/ac200311
https://www.nxtbook.com/nxtbooks/ac/ac200310
https://www.nxtbook.com/nxtbooks/ac/ac200309
https://www.nxtbook.com/nxtbooks/ac/ac200308
https://www.nxtbook.com/nxtbooks/ac/ac200307
https://www.nxtbook.com/nxtbooks/ac/ac200306
https://www.nxtbook.com/nxtbooks/ac/ac200305
https://www.nxtbook.com/nxtbooks/ac/ac200304
https://www.nxtbook.com/nxtbooks/ac/ac200303
https://www.nxtbook.com/nxtbooks/ac/ac200302
https://www.nxtbook.com/nxtbooks/ac/ac200301
https://www.nxtbook.com/nxtbooks/ac/ac200212
https://www.nxtbook.com/nxtbooks/ac/ac200211
https://www.nxtbook.com/nxtbooks/ac/ac200210
https://www.nxtbook.com/nxtbooks/ac/ac200209
https://www.nxtbook.com/nxtbooks/ac/ac200208
https://www.nxtbook.com/nxtbooks/ac/ac200207
https://www.nxtbook.com/nxtbooks/ac/ac200206
https://www.nxtbook.com/nxtbooks/ac/ac200205
https://www.nxtbook.com/nxtbooks/ac/ac200204
https://www.nxtbook.com/nxtbooks/ac/ac200203
https://www.nxtbook.com/nxtbooks/ac/ac200202
https://www.nxtbook.com/nxtbooks/ac/ac200201
https://www.nxtbook.com/nxtbooks/ac/ac200112
https://www.nxtbook.com/nxtbooks/ac/ac200111
https://www.nxtbook.com/nxtbooks/ac/ac200110
https://www.nxtbook.com/nxtbooks/ac/ac200109
https://www.nxtbook.com/nxtbooks/ac/ac200108
https://www.nxtbook.com/nxtbooks/ac/ac200107
https://www.nxtbook.com/nxtbooks/ac/ac200106
https://www.nxtbook.com/nxtbooks/ac/ac200105
https://www.nxtbook.com/nxtbooks/ac/ac200104
https://www.nxtbook.com/nxtbooks/ac/ac200103
https://www.nxtbook.com/nxtbooks/ac/ac200102
https://www.nxtbook.com/nxtbooks/ac/ac200101
https://www.nxtbook.com/nxtbooks/ac/ac200012
https://www.nxtbook.com/nxtbooks/ac/ac200011
https://www.nxtbook.com/nxtbooks/ac/ac200010
https://www.nxtbook.com/nxtbooks/ac/ac200009
https://www.nxtbook.com/nxtbooks/ac/ac200008
https://www.nxtbook.com/nxtbooks/ac/ac200007
https://www.nxtbook.com/nxtbooks/ac/ac200006
https://www.nxtbook.com/nxtbooks/ac/ac200005
https://www.nxtbook.com/nxtbooks/ac/ac200004
https://www.nxtbook.com/nxtbooks/ac/ac200003
https://www.nxtbook.com/nxtbooks/ac/ac200002
https://www.nxtbook.com/nxtbooks/ac/ac200001
https://www.nxtbookmedia.com