American Cinematographer - January 2018 - 44
◗
Love on the Run
Right and
below: Elisa is
consumed
with thoughts
of her
beloved fishman. Bottom:
After
successfully
breaking the
creature out
of the
government
facility, Elisa
hides him
away in her
apartment.
camera package, which included a set of
Arri/Zeiss Master Primes. Laustsen has
long favored those optics. "They are
unforgiving," the cinematographer
observes. "You don't get anything for
free with Master Primes, and I like that.
I want to be in total control of the
image. With these lenses, if you want a
special look, you have to do it in-camera
and in the lighting.
"I am not a wide-open shooter,"
he continues. "I prefer to stay between
T2.8 and T4. We relied primarily on
wide-angle lenses - you feel close to
the actors, the movements get stronger,
and the depth of field is better."
Corbeil recalls having a 21mm
lens on the camera for 15-25 percent of
the production, and a 27mm about 60
percent of the time. "Wide-angle lenses
really savor the space," he notes. "We
used the 27mm when we were between
3 and 5 feet away [from the actor], and
the 21mm lens when we were 8 to 10
feet away, which really gives you the
feeling of being there."
As befits a myth, the story opens
in a fantastical dreamscape. An underwater riverbed populated with swimming fish and covered in undulating
grass reeds feeds into a hallway that in
turn leads into Elisa's fully submerged
apartment, where everyday objects -
44
January 2018
American Cinematographer
Table of Contents for the Digital Edition of American Cinematographer - January 2018
Contents
American Cinematographer - January 2018 - Intro
American Cinematographer - January 2018 - Cover1
American Cinematographer - January 2018 - Cover2
American Cinematographer - January 2018 - 1
American Cinematographer - January 2018 - 2
American Cinematographer - January 2018 - Contents
American Cinematographer - January 2018 - 4
American Cinematographer - January 2018 - 5
American Cinematographer - January 2018 - 6
American Cinematographer - January 2018 - 7
American Cinematographer - January 2018 - 8
American Cinematographer - January 2018 - 9
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American Cinematographer - January 2018 - 11
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American Cinematographer - January 2018 - 18
American Cinematographer - January 2018 - 19
American Cinematographer - January 2018 - 20
American Cinematographer - January 2018 - 21
American Cinematographer - January 2018 - 22
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American Cinematographer - January 2018 - 43
American Cinematographer - January 2018 - 44
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American Cinematographer - January 2018 - 70
American Cinematographer - January 2018 - 70a
American Cinematographer - January 2018 - 70b
American Cinematographer - January 2018 - 71
American Cinematographer - January 2018 - 72
American Cinematographer - January 2018 - 73
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American Cinematographer - January 2018 - 120
American Cinematographer - January 2018 - Cover3
American Cinematographer - January 2018 - Cover4
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