American Cinematographer - January 2015 - K1

January 2015
Noble is based on the true story of Christina Noble, who
overcomes a harsh childhood in Ireland, to discover her
destiny on the streets of Saigon, where she has since saved
over 200,000 homeless and sick children from a life of
poverty and pain. The fi lm - written and directed by Stephen
Bradley - spans four decades and two countries.
"I had not done a period fi lm before," says cinematographer
Trevor Forrest, who won best
cinematography at the Tribeca Film
Festival for Una Noche (2012). "A
friend wanted me to meet Stephen
for this project and I asked why.
'You work in far off places and
you're great with children,' he told
me. That got me thinking."
Forrest found himself pulled into
the story, and started wondering
what Vietnam in the 1980s looked
like, or Ireland in the '50s and
Paris in the '60s. Most projects
looking to fi lm in Vietnam end up
shooting in Thailand, due to the
lack of a fi lmmaking infrastructure. But Forrest and Bradley
pushed hard for Saigon and ended up fi nding where Noble had
actually helped change lives.
To capture this story, Forrest chose a variety of 35mm fi lm
stocks to convey different tiime periods.
"When I'm in the beginning stages of picking stocks, fi lters
and lenses," Forrest explains,
"I approach it as if I'm making
a soup - gathering all the
ingredients and making sure their
fl avors play off each other well."
Where the 1950s were a
bit darker and more chaotic
for Noble, the 1960s revealed
a softer visual approach for
Forrest to portray her life. "I
chose PANAVISION PRIMO
Zoom lenses for this period and
used the traditional approach.
This gave us a softer edge with a
slightly more saturated stock on
the 5279 Film, and that worked

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
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American Cinematographer - January 2015 - 13
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American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
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American Cinematographer - January 2015 - 31
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American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
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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
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American Cinematographer - January 2015 - 53
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American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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