American Cinematographer - December 2004 - 45

The show's

ambitious
harbor set

was

constructed

within

Downey

Studios. When
Lubezki was
forced to leave
the production
to honor a

prior

commitment, he
turned the reins
over to fellow
ASC member
Robert Yeoman,

who worked

primarily

on

this

set.

right angle, the texture is right and

from within, and it

the contrast is close to what you

have very dark sets
the first thing that

want,

you

Windows

the frame,

just

can

to

use

darken certain

of

that might other¬

areas

wise demand

Power
areas

a

lot of time

[to

finesse] on set - you might have to
properly cut the light with dozens of
flags while the entire production
waits."
Lubezki notes that Snickefs

color

scheme

excludes

primary

colors in favor of blacks and grays,
"but in order to not make a blackand-white movie and go

completely

stylized, Colleen added dark colors,
greens and browns, to her costumes.
The story is very episodic, so we
picked a different color scheme for
each section. For example, Count
Olaf's house has

a

lot of greens,

blacks and grays;

the house of Uncle
Monty [Billy Connolly] has a lot of
greens and browns and a bit of
yellow; and the house of Aunt
Josephine [Meryl Streep] has blues
and blacks. We wanted very dark

helps when you
and costumes -
catches the light

plished through dimming, as the
entire production was boardcontrolled.

will be the actor's face."

Uncle

These

Monty's house, a green¬
featuring panels
glass, allowed the film¬

house-like structure

changes in color also
applied to Lubezki's lighting. "In fact,
this was the first time I ever gelled my
lights," he admits with a laugh. "I
usually do any temperature changes
at the lab, or my use of
gels is so

teamed with Lubezki

minor that it's not worth mention¬

Cat in the Hat and worked

ing, but I finally used some colors on
this film." So while straight tungsten
became his overall "cool" light -
and Snicket was an all-tungsten show
the cinematographer experi¬

with him

mented with "a bit of CTB

used

of colored
makers "to

lighting

as
technician

for

few

some

says

John

for

tones

on

Ali and The

of the film, but

most

Monty's place let us play a bit."
As is his

tradition, Lubezki

one film stock on Snicket
Kodak Vision2 500T 5218. "This

just

lamps for Josephine's house, and
some
CTS to warm up Uncle
Monty's place. It was nothing out of
the ordinary, although it was out of
the ordinary for me. I did this in part

whole movie with

because I wanted the dailies

the

look

color in the

chief lighting
Buckley, who

closely
throughout preproduction
Snicket. "We're basically in sun

-

on a

use

well,"

marks the first time I've done

he says.

a

500-ASA

"I thought I would

200-ASA stock, but we'd

a

stock,"

use

the

never

get

Specifically, I wanted the faces to look
exactly the way I wanted them to

light - our sets were just too big.
Unless I'm trying to create an effect
of some kind, I always try to use just
one stock. I
overexposed it by at least
one-third of a stop, sometimes

colors to surround the actors' faces. I

look in the end." Much of the

more."

always love it when

ing of the light

a

face is shining

exactly the
to

way

to

I wanted the picture

look after the DI

was

was

also

finished.

warm¬

accom¬

Lab work for the film

was

American

Cinematographer 41



American Cinematographer - December 2004

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