American Cinematographer - June 2017 - 98
not going to make a ghost story. Our crane
operator, Mathieu Roberts, seemed quite
impressed and told me, 'No one ever uses
the Technocrane to do documentary films!'
Jedd Wider: We assigned different
thematic rationales for different types of
cameras and film. To distinguish the various
eras in Linda's life, Gerardo chose Kodak
stock to exploit grain, flares and sometimes
streaks. When Linda was released from a
psychiatric hospital, she wandered until she
found the farmhouse. To display her energy
and agitation, these scenes were shot with a
16mm Bolex and a Canon Scoopic - and
Super 16mm sequences [were shot] using an
Aaton XTR-Prod, sometimes without looking
through the viewfinder. Gerardo even used
his [Bell & Howell] Eyemo 35mm combat
camera.
Puglia: [The Eyemo was] modified
with a Nikon mount and [fitted with] a Zeiss
18mm lens. The Nikkor 50-300mm [f8]
zoom was used on the Canon C300 to film
the entire opening title/credit sequence of
snowfall, including birds and deer.
Jedd Wider: Contemporary interviews were shot digitally with a Canon [EOS]
C300 and 100mm [Zeiss lens at f4]. Eightmillimeter home-movie footage of Linda as a
child is also incorporated.
Puglia: Super 16mm Kodak [Vision
500T] 7279 film was used to [capture] all the
[sequences depicting] food, which Linda
yearned for. [The slightly grainy quality of
the] film has an enticing and dreamy effect;
we wanted the viewer to experience Linda's
perception of food and to feel her hunger.
Thirty-five millimeter [500T] 5279 was
spooled off onto 100-foot rolls and used in
the Eyemo camera. It was used to capture
some of the internal landscapes of the
house, as well as to evoke a sense of
memory through it's slight flicker and inconsistent exposure uniformity, which gave the
images a sense of uneasiness. Film was sent
to CineLab for processing and scanned at
2K.
Todd Wider: We also [used an] Arri
Alexa, which we wanted to represent the
eye of God; it is a presence, almost a ghost.
When the camera starts outside the building,
floats through the door, floats down the hallway and goes into the room where the
apples are and where Linda spent most of
her time looking out the window and writ-
http://nila.com
http://www.koernercamera.com
http://theragplace.com
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
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
American Cinematographer - June 2017 - 23
American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
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
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
American Cinematographer - June 2017 - 40
American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
American Cinematographer - June 2017 - 44
American Cinematographer - June 2017 - 45
American Cinematographer - June 2017 - 46
American Cinematographer - June 2017 - 47
American Cinematographer - June 2017 - 48
American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
American Cinematographer - June 2017 - 51
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American Cinematographer - June 2017 - 53
American Cinematographer - June 2017 - 54
American Cinematographer - June 2017 - 55
American Cinematographer - June 2017 - 56
American Cinematographer - June 2017 - 57
American Cinematographer - June 2017 - 58
American Cinematographer - June 2017 - 59
American Cinematographer - June 2017 - 60
American Cinematographer - June 2017 - 61
American Cinematographer - June 2017 - 62
American Cinematographer - June 2017 - 63
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American Cinematographer - June 2017 - 65
American Cinematographer - June 2017 - 66
American Cinematographer - June 2017 - 67
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American Cinematographer - June 2017 - 70
American Cinematographer - June 2017 - 71
American Cinematographer - June 2017 - 72
American Cinematographer - June 2017 - 73
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American Cinematographer - June 2017 - 79
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American Cinematographer - June 2017 - 83
American Cinematographer - June 2017 - 84
American Cinematographer - June 2017 - 85
American Cinematographer - June 2017 - 86
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American Cinematographer - June 2017 - 88
American Cinematographer - June 2017 - 89
American Cinematographer - June 2017 - 90
American Cinematographer - June 2017 - 91
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American Cinematographer - June 2017 - 93
American Cinematographer - June 2017 - 94
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American Cinematographer - June 2017 - 97
American Cinematographer - June 2017 - 98
American Cinematographer - June 2017 - 99
American Cinematographer - June 2017 - 100
American Cinematographer - June 2017 - 101
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American Cinematographer - June 2017 - 103
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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