American Cinematographer - January 2018 - 53
runs out of frame. Then his double,
dressed exactly like Strickland, runs up
the rest of the stairs."
Late in the film, Elisa sits at her
kitchen table with the creature, who
has begun to show signs of physical
deterioration. Elisa wants desperately
to let the creature know how she feels
about him, and she goes into a reverie
in which she starts singing a love song
from an old black-and-white musical
that is playing on the television set in
the background.
"We put a follow spot on Sally at
the table and dimmed it up while turning down the rest of the lights in the
room," Laustsen explains. "Elisa gets
up from the table and we cut to a stage
where she and Charley are dancing as if
they are the characters in the movie.
Although we shot it in color, we
drained the color in post, so it becomes
this black-and-white sequence. We
shot the scene on the Technocrane -
the movement is very different from
the rest of the film. It's not as floaty; it's
more classical, like the Hollywood
movies of the 1930s. When the song
ends, we dim the spotlights down and
bring the lights back up in her apartment, where she again sits at the table."
The production shot for 58 days;
postproduction took another 40 weeks.
Reflecting on the project, Laustsen
pays tribute to his entire crew, including key grip Robert Johnson, 2nd-unit
cinematographer and B-camera operator J.P. Locherer, B-camera 1st AC
David Nardi and DIT Gautam Pinto,
as well as all the special- and visualeffects artists.
He saves his greatest praise,
though, for del Toro, whom he applauds
for using light as a key tool in telling his
stories. "In the Hollywood films of the
Forties and Fifties, the directors and
cinematographers used dramatic lighting for storytelling," Laustsen notes.
"We have gotten away from that in the
past few decades. Today, everybody talks
about shooting with as little light as
possible - or even without any lights.
My attitude is to tell the story with
light. It is an incredibly powerful storytelling partner."
●
TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa XT Plus, Mini
Arri/Zeiss Master Prime,
Arri/Fujinon Alura
53
http://dji.com/zenmuse-x7
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
American Cinematographer - January 2018 - 10
American Cinematographer - January 2018 - 11
American Cinematographer - January 2018 - 12
American Cinematographer - January 2018 - 13
American Cinematographer - January 2018 - 14
American Cinematographer - January 2018 - 15
American Cinematographer - January 2018 - 16
American Cinematographer - January 2018 - 17
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
American Cinematographer - January 2018 - 23
American Cinematographer - January 2018 - 24
American Cinematographer - January 2018 - 25
American Cinematographer - January 2018 - 26
American Cinematographer - January 2018 - 27
American Cinematographer - January 2018 - 28
American Cinematographer - January 2018 - 29
American Cinematographer - January 2018 - 30
American Cinematographer - January 2018 - 31
American Cinematographer - January 2018 - 32
American Cinematographer - January 2018 - 33
American Cinematographer - January 2018 - 34
American Cinematographer - January 2018 - 35
American Cinematographer - January 2018 - 36
American Cinematographer - January 2018 - 37
American Cinematographer - January 2018 - 38
American Cinematographer - January 2018 - 39
American Cinematographer - January 2018 - 40
American Cinematographer - January 2018 - 41
American Cinematographer - January 2018 - 42
American Cinematographer - January 2018 - 43
American Cinematographer - January 2018 - 44
American Cinematographer - January 2018 - 45
American Cinematographer - January 2018 - 46
American Cinematographer - January 2018 - 47
American Cinematographer - January 2018 - 48
American Cinematographer - January 2018 - 49
American Cinematographer - January 2018 - 50
American Cinematographer - January 2018 - 51
American Cinematographer - January 2018 - 52
American Cinematographer - January 2018 - 53
American Cinematographer - January 2018 - 54
American Cinematographer - January 2018 - 55
American Cinematographer - January 2018 - 56
American Cinematographer - January 2018 - 57
American Cinematographer - January 2018 - 58
American Cinematographer - January 2018 - 59
American Cinematographer - January 2018 - 60
American Cinematographer - January 2018 - 61
American Cinematographer - January 2018 - 62
American Cinematographer - January 2018 - 63
American Cinematographer - January 2018 - 64
American Cinematographer - January 2018 - 65
American Cinematographer - January 2018 - 66
American Cinematographer - January 2018 - 67
American Cinematographer - January 2018 - 68
American Cinematographer - January 2018 - 69
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
American Cinematographer - January 2018 - 74
American Cinematographer - January 2018 - 75
American Cinematographer - January 2018 - 76
American Cinematographer - January 2018 - 77
American Cinematographer - January 2018 - 78
American Cinematographer - January 2018 - 79
American Cinematographer - January 2018 - 80
American Cinematographer - January 2018 - 81
American Cinematographer - January 2018 - 82
American Cinematographer - January 2018 - 83
American Cinematographer - January 2018 - 84
American Cinematographer - January 2018 - 85
American Cinematographer - January 2018 - 86
American Cinematographer - January 2018 - 87
American Cinematographer - January 2018 - 88
American Cinematographer - January 2018 - 89
American Cinematographer - January 2018 - 90
American Cinematographer - January 2018 - 91
American Cinematographer - January 2018 - 92
American Cinematographer - January 2018 - 93
American Cinematographer - January 2018 - 94
American Cinematographer - January 2018 - 95
American Cinematographer - January 2018 - 96
American Cinematographer - January 2018 - 97
American Cinematographer - January 2018 - 98
American Cinematographer - January 2018 - 99
American Cinematographer - January 2018 - 100
American Cinematographer - January 2018 - 101
American Cinematographer - January 2018 - 102
American Cinematographer - January 2018 - 103
American Cinematographer - January 2018 - 104
American Cinematographer - January 2018 - 105
American Cinematographer - January 2018 - 106
American Cinematographer - January 2018 - 107
American Cinematographer - January 2018 - 108
American Cinematographer - January 2018 - 109
American Cinematographer - January 2018 - 110
American Cinematographer - January 2018 - 111
American Cinematographer - January 2018 - 112
American Cinematographer - January 2018 - 113
American Cinematographer - January 2018 - 114
American Cinematographer - January 2018 - 115
American Cinematographer - January 2018 - 116
American Cinematographer - January 2018 - 117
American Cinematographer - January 2018 - 118
American Cinematographer - January 2018 - 119
American Cinematographer - January 2018 - 120
American Cinematographer - January 2018 - Cover3
American Cinematographer - January 2018 - Cover4
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