American Cinematographer - May 2016 - 52
◗
Stripped Down
Top and bottom: Davis recruits Chris to help with his home demolition. Middle: Gyllenhaal and Vallée
discuss a scene inside Davis' home.
52
May 2016
American Cinematographer
For occasional point-of-view
shots through the windshield of Davis'
SUV, Bélanger switched to the compact
Alexa XT M camera - which he could
conveniently rest on the dashboard -
and 27mm and 32mm Arri/Zeiss
Master Primes, as he found the 25mm
and 35mm Super Speeds too wide and
too tight, respectively.
Shooting wide-open and close to
the actors with the 35mm created a
beauty look. "There's no depth of field
whatsoever," Bélanger notes. In a scene
in which Davis and Phil meet at a
restaurant shortly after Julia's passing,
the dark wooden chairs and white tablecloths behind Phil are so out of focus
that the sequence seems to take his
musings about the human heart beyond
the physical world.
The cinematographer used NDs
throughout the shoot to facilitate
Vallée's desired T1.3-T2.5 range, but
there were exceptions to these apertures.
"I found it disturbing when we had two
actors in a medium shot and one was
not in focus, so sometimes I went up to
T2.8 or T4 to have them both sharp,"
Bélanger says. He adds that he also
usually employed polarizing filters to
"control the contrast, since the Alexa is
so fast and sensitive. I even used polarizers for night interiors. I didn't use
them with cars, because some car
windows already have a polarizing film
and it creates a weird look. And some
Table of Contents for the Digital Edition of American Cinematographer - May 2016
Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
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American Cinematographer - May 2016 - Contents
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