American Cinematographer - January 2015 - 80

◗

Wandering Spirit

Throughout her journey, Strayed has flashbacks of her mother, Bobbi (Laura Dern, top and middle),
and her friend Aimee (Gaby Hoffmann, bottom).

Montreal, who removed all orange from
the scene.
Relying heavily on natural light,
Bélanger used NDs and polarizing
filters. "I always have a polarizer with
digital, even for day and night interiors,"
80

January 2015

he says. "My last control of contrast is
with a polarizer. When you don't light,
the skin reflects everything, and sometimes it's too much."
For interior location work, the
crew often would not change the bulbs
American Cinematographer

in practical light fixtures. "If there are
different kinds of light on an actor, we
keep them," Bélanger explains. "The
Alexa reads it like the human eye, so we
don't correct it."
However, the crew would supplement the existing practicals when
needed. One example is a flashback in
which Paul bursts in on Strayed as she's
with another man. In this case, because
it was November and they would lose
the daylight early, the crew placed
sources outside the dingy apartment,
pushing the light through a window
covered with newspaper and shabby
curtains. Working with equipment from
Sasquatch Lighting & Grip and
Gearhead Grip and Electric, Portlandbased gaffer Scott Walters replicated
daylight with a Kino Flo 4-bank
through Light Grid, which the grips
goal-posted out on a 4'-wide porch. A
Litepanels 1x1 Bi-Color LED threw
additional light on the bed, and a Kino
Celeb 200 DMX LED provided light
through the door next to the main
newspaper-covered window. Further
ambience was provided by a 1K Mickey
Mole with a Full Blue filter bounced
into the ceiling from an adjoining room,
and a 2K Mighty Mole with Half Blue
aimed into a 12'x12' Ultrabounce from a
back alley and through the door where
Paul enters the room. Bélanger shot at
2,000 ASA to pick up detail on Paul as
he's framed by the overexposed doorway.
Perhaps the biggest lighting setup
was required for a flashback set in a
restaurant, where Strayed reveals a
confidence to her friend Aimee (Gaby
Hoffmann). The scene was shot nightfor-day and involved blowing snow,
which would be added digitally under
the guidance of visual-effects supervisor
Marc Côté. A 12'x30' greenscreen was
placed outside the window behind the
two actresses, who were seated northsouth. The crew directed a pair of Arri
M90s through the south window,
diffused by 12'x20' and 12'x12' Full
Grid placed side-by-side, and 4'x4'
Light Grid directly in front of the lights.
"We needed to match the soft daylight
feel associated with snow," Walters explains.



Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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