American Cinematographer - April 2017 - 16
Right: Hair-andmakeup artist
while the crew
readies a scene
and a store
checks his frame
number of projects. "They've been my goto lenses from the time they came out," he
reflects. "They're very sharp and have very
little distortion. I find them very pretty."
Since the film was shot digitally, Lieberman
opted to add Schneider Classic Soft filters in
front of the lens. "They combine a part of
the filter that keeps the picture sharp with a
part of the filter that lets it go soft," he
comments. "Any time there's a human in
the scene, there would be a Schneider on
One of the cinematographer's first
priorities was to settle on consistent times
to shoot interiors and exteriors. "It had to
be shot out of sequence," Lieberman says.
"In order to make all the shots work, everything had to be timed out to where the sun
was going to be."
Mornings were set aside for the interiors of a diner/general store, where Hux
recites the list of items she needs to get -
"fruit, Band-Aids, dog treats" - like a
mantra. "I needed the light coming into the
diner in the morning," Lieberman says. "All
those windows face east, so when she's at
the cash register, we were looking out into
a backlit world." Here, as in other passages
in the short, Lieberman made use of a minimal lighting order. "A lot of things in the
diner were hidden under tables," he says.
"There were a lot of smallish lights, but it
was pretty much [a low-budget] film." The
cinematographer adds that the lighting
package included two 4Bank Kino Flo
units, two Kino Flo Diva-Lites, one 1,200watt HMI Par, two 575-watt Pars and two
K 5600 Joker-Bug 400s.
While at the diner and store, Hux
experiences sensory overload. Close-ups of
overhead fluorescent lights and the diners'
plates are harshly intercut with wide angles
of Hux. In fact, these close-ups were shot by
Tovah, who is credited as an additional
photographer. "She's sort of assaulted by
the stimuli," Tovah says. "I went back and
shot all those little inserts of things."
For these inserts, Tovah worked with
a Canon EOS 40D DSLR camera; she used a
Canon EOS 5D Mark III for additional
footage sprinkled throughout the short.
"Except for adjustments I made myself to
the material I shot, the color timing was
done by Bruce Goodman," Tovah notes.
Lieberman - who receives a co-