American Cinematographer - June 2017 - 16

Top: The man's woes are manifested as an ever-growing burden he carries on his back.
Above: The crew readies the scene at the desk.

as a cinematographer, and also inspired
some of his specific choices in shooting The
Back of My Mind. At a Master Class dinner,
Cantini sat close enough to Vittorio Storaro,
ASC, AIC to have a conversation with him
about lighting with today's digital cameras.
"Vittorio told me that nowadays the
cameras are so sensitive that you can shoot
without lights if you want," Cantini recalls,
"but that you have to look for the correct
lighting for the story, not just turn on the
16

June 2017

camera and shoot. You have to find the
expression of the light for the mood of the
scene." Cantini says that advice was "very
much on my mind during the process of
shooting the film." He offers the example
of his leaving the interior of the protagonist's apartment dark and moody to match
the character's interior state.
The production had the budget for
three G Series lenses, so the filmmakers
chose a 35mm, 50mm and 75mm.
American Cinematographer

However, during the final tech scout - on
a Friday afternoon before a Sunday shoot
- Cantini realized he needed a wider lens,
a 25mm. "I called Rik on his cell phone at 8
p.m. and he said, 'Don't worry, we'll solve
it,'" Cantini relates. "We managed to get
that lens for Sunday morning, and Rik said
we should be grateful because Hitchcock
only shot with three lenses. We had one
more than he did!"
Cantini, who brought on his regular
gaffer David "Blue" Thompson and key
grip Otto Betancourt, relied mainly on three
Arri SkyPanel S60s, which suited the
demands of the production. "The SkyPanels could be a tungsten source, a daylight
source and a sodium-vapor source, and
even match to the one Arri HMI M40 light
we had," he says. "I could connect them to
my iPad, choose the color, and then save
what I selected so I could change quickly
from one scene to another. It saved so
much time because I didn't have to change
gels. And because the SkyPanels were so
lightweight, one person could just throw
them in a small truck, with a small stand
and a small [generator]. We didn't need a
big crew."
The cinematographer created two
specific effects with color. In one, when the
man is plodding down the stairs, the cinematographer bathed the scene in a red
tone. "It's like he's descending into hell, the
deepest place of the soul," he says. In a
second scene, the man is taking pills in a



Table of Contents for the Digital Edition of American Cinematographer - June 2017

Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
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American Cinematographer - June 2017 - 11
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American Cinematographer - June 2017 - 15
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American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
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American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
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American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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