American Cinematographer - May 2014 - 60

◗

Divine Purpose

Top and bottom
left: Octodomes
bounce fill light
off a white
tablecloth for a
dinner sequence
in the convent.
Bottom right:
Smoke and a
beam of light
aimed through
black cloth
enhance the look
of a scene in the
convent's
kitchen.

large windows; holes were cut in the
cloth to create spots of light in the
background. For closer shots, he would
usually add a large (200x120-centimeter) vertical frame of 250 very close to
the actor. Zal notes that the chapel
setup was inspired by his visit to the
location on a sunny day. "The sun was
just amazing that day, so I took some
pictures and copied that [lighting]
when we shot."
While working on convent day
60

May 2014

interiors, Zal used diffusion and flags to
lend some texture and differentiation
to the large expanses of flat walls.
Another technique he employed was to
cut holes in black cloth to let spots of
light shine through, as seen in the
convent's kitchen, adding a little smoke
to soften the image.
Zal frequently used Dedolight
Octodomes as soft sources for night
interiors. In the convent dining room,
for example, he created three soft pools
American Cinematographer

of light with Octodomes above the
frame, using the white tablecloth as fill.
For other night interiors, he created
gradations of shadows and vignetting
on the background walls with small
Octodomes suspended above the frame,
as in the scene where Ida stands by the
stove and is transfixed by a young nun
washing herself. To convey the sensuality of the moment, the filmmakers
stoked a big fire in the stove to create
flickering light on Ida's face. In a similar



American Cinematographer - May 2014

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Contents
American Cinematographer - May 2014 - Cover1
American Cinematographer - May 2014 - Cover2
American Cinematographer - May 2014 - 1
American Cinematographer - May 2014 - 2
American Cinematographer - May 2014 - Contents
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