American Cinematographer - April 2015 - 26
Josh and Cornelia
develop a new
perspective on
their priorities.
apartment," Levy says of the Brooklyn location. "The living room and dining room had
great available light, but the kitchen, which
is between those two rooms, got very little.
I did a lot of testing at that location to see if
we should try to extend 'daylight' into the
kitchen with HMI instruments, or if we
should just turn on some practical tungsten
lamps and have the differentials in color
temperature."
Levy opted for the latter solution.
While blue bulbs were used in practical
chandeliers hanging over an island counter
26
April 2015
in the kitchen, the rest of the practical
fixtures in the ceiling and around the counters were fitted with uncorrected tungsten
globes.
"One benefit to shooting with the
Alexa and having a monitor on set is that
you can see a pretty good depiction of how
tungsten and daylight are working
together," the cinematographer observes.
"It's not [exactly] how it's going to look [in
the finished movie], but it's a pretty decent
approximation of how blue the daylight will
be and how orange or warm the tungsten
American Cinematographer
will be. I really embraced the phenomenon
of those colors coexisting. It's the kind of
thing that can look amazing on film, but it's
a much more theoretical process of using a
color meter and anticipating. It's one aspect
of shooting digitally that I enjoy. This previsualization process that a calibrated monitor
gives you can sometimes push things in a
different direction."
The mix of color temperatures was
repeated in the location used for Cornelia's
father's apartment, "which had a similar
issue," Levy explains. "There were windows
with available light or that you could push
light through, and then a kitchen where it
was difficult to extend the daylight. Rather
than trying to fight that, we just used tungsten practicals [in the kitchen]."
Overall, Levy and Baumbach strove
for a realistic, unadorned style, but one
particular sequence called for something
slightly more stylized. In the sequence, the
principal characters attend an "ayahuasca"
ceremony, where they imbibe a psychedelic
brew. "It was a rare instance when Noah
spoke to me very specifically about lighting," says Levy. "He said it should be a little
brighter at the beginning, and then, when
we time-cut, it should be darker. I wanted to
make it as dark as possible, because these
guys are tripping and they wouldn't have a
American Cinematographer - April 2015
Table of Contents for the Digital Edition of American Cinematographer - April 2015
Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
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American Cinematographer - April 2015 - 14
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American Cinematographer - April 2015 - 20
American Cinematographer - April 2015 - 21
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American Cinematographer - April 2015 - 24
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American Cinematographer - April 2015 - 26
American Cinematographer - April 2015 - 27
American Cinematographer - April 2015 - 28
American Cinematographer - April 2015 - 29
American Cinematographer - April 2015 - 30
American Cinematographer - April 2015 - 31
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American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
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American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
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American Cinematographer - April 2015 - 60
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American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
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American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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