American Cinematographer - March 2013 - 22

Top: As her
younger sister
(Nele Trebs)
looks on, Lore
examines the
remnants of a
bonfire her
father set to
burn evidence
of his Nazi
affiliation.
Bottom: Lore is
unsettled by
Thomas (Kai
Malina), a
young, silent
man who joins
her family on
its journey.

feel overly dark and heavy. Nature provided
a way out. Arkapaw elaborates: “Amongst
all the human angst and tragedy, nature has
an enduring quality. Its lushness, beauty and
survival instincts are a way of [suggesting]
the future, so we emphasized the children’s
fascination with the insects, flowers and
foliage they encountered on their journey.
We simply shot the details that caught our
eyes and tried to add a lyrical element to
them to convey a child’s perspective; we
used split diopters, slow motion and shallow focus to achieve that.”
Another important design element
was the use of tungsten-balanced negatives
(Kodak Vision3 200T 7217 and 500T 7219)
22

March 2013

in daylight situations without correction.
“Cate and I just really liked that look,” says
Arkapaw. Rather than equating blue with
coldness, they associated it with “youthful
innocence,” he explains. “It also takes the
warmth out of skin tones, giving flesh a kind
of purity. The idea was to have a cool palette
punctuated by warm yellows, oranges and
ambers. We used various warming filters
— 81EF, Antique Suede and Chocolate — to
vary the shade of blue. We also occasionally
used [Kodak Vision2 50D] 7201 to break
up the otherwise blue look of all the day
exteriors.”
The film’s few day interiors were lit
through windows whenever possible to give
American Cinematographer

the actors maximum freedom. “Our general
approach was to use tungsten lighting for
practicals and other indoor lighting and
allow the daylight through the windows to
remain at 5,600°K,” says the cinematographer. “I sometimes added an 81EF filter to
bring the tungsten stock to a 4,300°K base,
thus allowing the interior lights to feel
warmer and the outside light cooler.”
The first shot in Lore provides a good
example of this approach. The camera is
tight on Lore in the bathtub as she combs
her tangled hair. She goes to the window
and sees her father arriving home. Natural
daylight comes through the windows,
augmented by a couple of daylightbalanced practicals gelled with Lee Rose
Pink. The scene, which includes an outdoor
high-speed shot of Liesel jumping rope, was
shot on 7217 and has a pronounced blue
tint. Then, there is a cut to a high-speed
Steadicam shot (filmed on 7219) of Lore
descending the stairs to greet her father.
Arkapaw added an 81EF to the lens to
warm the room, which included two practical lamps along the staircase and a chandelier at the base of the steps. Gaffer Michael
Adcock put a 1,000-watt globe in a
Chimera pancake above the ceiling lamp
and dimmed it down to produce an even
warmer ambience. “The use of slow motion
in that shot was intended to create a kind of
magical but macabre feeling,” notes Arkapaw. “There is something beautiful and



American Cinematographer - March 2013

Table of Contents for the Digital Edition of American Cinematographer - March 2013

American Cinematographer - March 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Die Antwoord’s “I Fink U Freeky”
Production Slate: Lore
Trials by Fire
Strong Foundations
Tech Savvy
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - American Cinematographer - March 2013
American Cinematographer - March 2013 - Cover2
American Cinematographer - March 2013 - 1
American Cinematographer - March 2013 - 2
American Cinematographer - March 2013 - Contents
American Cinematographer - March 2013 - 4
American Cinematographer - March 2013 - 5
American Cinematographer - March 2013 - 6
American Cinematographer - March 2013 - 7
American Cinematographer - March 2013 - 8
American Cinematographer - March 2013 - 9
American Cinematographer - March 2013 - Editor’s Note
American Cinematographer - March 2013 - 11
American Cinematographer - March 2013 - President’s Desk
American Cinematographer - March 2013 - 13
American Cinematographer - March 2013 - Short Takes: Die Antwoord’s “I Fink U Freeky”
American Cinematographer - March 2013 - 15
American Cinematographer - March 2013 - 16
American Cinematographer - March 2013 - 17
American Cinematographer - March 2013 - 18
American Cinematographer - March 2013 - 19
American Cinematographer - March 2013 - Production Slate: Lore
American Cinematographer - March 2013 - 21
American Cinematographer - March 2013 - 22
American Cinematographer - March 2013 - 23
American Cinematographer - March 2013 - 24
American Cinematographer - March 2013 - 25
American Cinematographer - March 2013 - 26
American Cinematographer - March 2013 - 27
American Cinematographer - March 2013 - Trials by Fire
American Cinematographer - March 2013 - 29
American Cinematographer - March 2013 - 30
American Cinematographer - March 2013 - 31
American Cinematographer - March 2013 - 32
American Cinematographer - March 2013 - 33
American Cinematographer - March 2013 - 34
American Cinematographer - March 2013 - 35
American Cinematographer - March 2013 - 36
American Cinematographer - March 2013 - 37
American Cinematographer - March 2013 - 38
American Cinematographer - March 2013 - 39
American Cinematographer - March 2013 - Strong Foundations
American Cinematographer - March 2013 - 41
American Cinematographer - March 2013 - 42
American Cinematographer - March 2013 - 43
American Cinematographer - March 2013 - 44
American Cinematographer - March 2013 - 45
American Cinematographer - March 2013 - 46
American Cinematographer - March 2013 - 47
American Cinematographer - March 2013 - 48
American Cinematographer - March 2013 - 49
American Cinematographer - March 2013 - Tech Savvy
American Cinematographer - March 2013 - 51
American Cinematographer - March 2013 - 52
American Cinematographer - March 2013 - 53
American Cinematographer - March 2013 - 54
American Cinematographer - March 2013 - 55
American Cinematographer - March 2013 - New Products & Services
American Cinematographer - March 2013 - 57
American Cinematographer - March 2013 - 58
American Cinematographer - March 2013 - 59
American Cinematographer - March 2013 - 60
American Cinematographer - March 2013 - 61
American Cinematographer - March 2013 - 62
American Cinematographer - March 2013 - 63
American Cinematographer - March 2013 - 64
American Cinematographer - March 2013 - Classified Ads
American Cinematographer - March 2013 - Ad Index
American Cinematographer - March 2013 - 67
American Cinematographer - March 2013 - 68
American Cinematographer - March 2013 - In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
American Cinematographer - March 2013 - 70
American Cinematographer - March 2013 - 71
American Cinematographer - March 2013 - ASC Membership Roster
American Cinematographer - March 2013 - 73
American Cinematographer - March 2013 - Clubhouse News
American Cinematographer - March 2013 - 75
American Cinematographer - March 2013 - ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - Cover3
American Cinematographer - March 2013 - Cover4
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