American Cinematographer - May 2006 - 31
Chediak
outside and the
brightness is in your face,"
says Chediak. "Manny Duran, my key grip,
hung a 20-by silk to block the sun in the
main courtyard, and my gaffer, Rick West,
set up two 18Ks on a Condor outside the
main picture windows. We also had
several 6K HMIs coming through the
windows in the back. We used very few
practicals for day interiors; instead, we
had a lot of light coming through
prepares to
shoot a close-up
of actor David
Morse, who
plays Tobe's
father, Wade.
windows."
Most of Down in the Valley was
photochemically at Deluxe Labora¬
tories in Hollywood, where Chediak
worked with timer Chris Regan. "A very
few bits were finished digitally, but we
shot with a photochemical finish in mind
timed
because
we
felt it would be
more
organic," says Chediak. The cinematogra¬
pher tweaked a few of the fog shots in the
digital-intermediate (Dl) suite at Modern
VideoFilm. "We wanted the smoke to look
18-percent gray, and in a couple of shots it
came out a little too bright, so we used the
Dl process to darken it a bit."
Jacobson credits Chediak with
bringing "a fresh set of eyes to a very
setting. Because he's from
another country, he was able to see this
place in a different way then we're all
used to seeing it. That helped me, too,
because I have to say I don't always love
the valley." For his part, Chediak savored
the chance to infuse the story with
evocative visual counterpoints. "David is
a writer, but he really values images the
familiar
way a
lot of American filmmakers did in
the Seventies," he says. "We tried as
much as possible to make this place a
mirror of whatever was going on in the
characters' heads, and to minimize
dialogue. It's all about the subtext." ■
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27
American Cinematographer - May 2006
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American Cinematographer - May 2006 - 1
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