American Cinematographer - May 2014 - 63

end, the filmmakers opted for an overall
increase in contrast. Pawlikowski recalls,
"We had never done a film like this
before, so we were groping, and finally, it
didn't feel dynamic enough, so we put
the contrast back in."
Herman's main focus was the
actors' faces, and he sometimes
augmented the underlying greens and
yellows to output a brighter, "more
glamorous skin tone" that he compares
to "silky paper." He also used color keys
to give some exteriors, like the forest,
less solid, "smokier" blacks. Pawlikowski
and Zal wanted a film look, so Herman
used Nucoda's virtual-grain function to
add minute film grain with varying
degrees of opacity. Zal adds that the
grain helped "deteriorate" a digital
image that was "too clean."
Looking back at the 39-day
shoot, Zal is thankful for Pawlikowski's
understanding of the time required for
lighting. "When there was a hard scene
for lighting, Pawel never asked me to

work faster; he was always very
patient." His first feature as a director of
photography was "a dream come true,"
he adds. "Pawel was very collaborative,
and the images are a result of this close
collaboration."
"A film that works is like a table
with four even legs: the structure,
acting, photography and sound are all
equal," notes Pawlikowski. "Therefore,
my work with the cinematographer is
a bit like my work with actors: I try
to establish the rules of the game, and
then I let them join the game and
express themselves. It's all about the
collaboration. With Lukasz, I had the
kind of complicity I had with Ryszard
on previous films, and shooting became
a fun game. Sometimes it was more
me, sometimes it was more Lukasz, but
we were always going in the same
direction."
●

TECHNICAL SPECS
1.33:1
Digital Capture
Arri Alexa
Arri/Zeiss Ultra Prime

63



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American Cinematographer - May 2014

Table of Contents for the Digital Edition of American Cinematographer - May 2014

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
American Cinematographer - May 2014 - 4
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