American Cinematographer - July 2010 - 57
moments,” Guadagnino says of the scene’s theatricality. “There was a lot of skepticism, but people didn’t remember how Orson Welles used light in this way, or the glorious Age of Innocence, when Scorsese shows the secret relationship by lighting just the couple in the theater.” Says Le Saux, “I have to applaud Luca. He was the only one to believe so much, and he brought me along with him.” When the story moves to Antonio’s world on the Riviera, the idea was to use natural light as much as possible. In Antonio’s bungalow, “the lighting setup was very simple — natural light and one 1.2K HMI bouncing off the floor,” says Le Saux. “We wanted to make the love sequence pure, without too much preparation or backlight or soft light.” When the couple makes love outside, the cinematographer initially thought he’d control the sunlight with a silk, but he changed his mind. “I just felt the real
beauty of the sequence was not to diffuse the feel, but to go strongly with it — they’re under the sun, and Tilda has super-white skin. So I removed the silk and shot it in direct sunlight. I used a little filtration, probably a ¼ Soft/FX and ¼ White Pro-Mist, and overexposed the Fuji a bit to burn it and be very white.” I Am Love was given a traditional photochemical finish at Technicolor in Rome, where color timer Angelo Francavilla put the final touches on the filmmakers’ work. “Angelo comes from the school of Carlo Labella, who worked for Vittorio Storaro [ASC, AIC] for many years,” says Guadagnino. “Angelo did an amazing job. The film has a painterly look, with rich, bold visuals, and it was achieved only by chemicals! I hate the digital intermediate; it allows a lazy way of making movies.” Le Saux notes that a photochemical finish was particularly well-suited to the project: “From the
beginning, Luca and I agreed that we didn’t want that modern, high-fashion image where you can feel the contrast, and the DI would have given us that. It was really important for us to stay with tradition.” ●
TECHNICAL SPECS
1.85:1 35mm Arricam Lite; Arri 535B Cooke, Angenieux and Arri lenses Kodak Vision3 500T 5219; Fuji Eterna 250T 8553 Printed on Kodak Vision 2383
57
http://www.kinoflo.com
American Cinematographer - July 2010
Table of Contents for the Digital Edition of American Cinematographer - July 2010
The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
Features
Dream Thieves (Inception)
Elements of Power (The Last Airbender)
An Emotional Rebirth (I Am Love)
Crowning Achievements (The Tudors)
Departments
Editor’s Note
President’s Desk
Short Takes: “Telephone”
Production Slate: Lie to Me • The Killer Inside Me
Post Focus: Enhancing Frozen
Filmmakers’ Forum: Gale Tattersall
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
Clubhouse News
ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
American Cinematographer - July 2010 - Cover2
American Cinematographer - July 2010 - 1
American Cinematographer - July 2010 - 2
American Cinematographer - July 2010 - 3
American Cinematographer - July 2010 - 4
American Cinematographer - July 2010 - 5
American Cinematographer - July 2010 - 6
American Cinematographer - July 2010 - 7
American Cinematographer - July 2010 - Editor’s Note
American Cinematographer - July 2010 - 9
American Cinematographer - July 2010 - President’s Desk
American Cinematographer - July 2010 - 11
American Cinematographer - July 2010 - Short Takes: “Telephone”
American Cinematographer - July 2010 - 13
American Cinematographer - July 2010 - 14
American Cinematographer - July 2010 - 15
American Cinematographer - July 2010 - Production Slate: Lie to Me • The Killer Inside Me
American Cinematographer - July 2010 - 17
American Cinematographer - July 2010 - 18
American Cinematographer - July 2010 - 19
American Cinematographer - July 2010 - 20
American Cinematographer - July 2010 - 21
American Cinematographer - July 2010 - 22
American Cinematographer - July 2010 - 23
American Cinematographer - July 2010 - 24
American Cinematographer - July 2010 - 25
American Cinematographer - July 2010 - Dream Thieves (Inception)
American Cinematographer - July 2010 - 27
American Cinematographer - July 2010 - 28
American Cinematographer - July 2010 - 29
American Cinematographer - July 2010 - 30
American Cinematographer - July 2010 - 31
American Cinematographer - July 2010 - 32
American Cinematographer - July 2010 - 33
American Cinematographer - July 2010 - 34
American Cinematographer - July 2010 - 35
American Cinematographer - July 2010 - 36
American Cinematographer - July 2010 - 37
American Cinematographer - July 2010 - 38
American Cinematographer - July 2010 - 39
American Cinematographer - July 2010 - Elements of Power (The Last Airbender)
American Cinematographer - July 2010 - 41
American Cinematographer - July 2010 - 42
American Cinematographer - July 2010 - 43
American Cinematographer - July 2010 - 44
American Cinematographer - July 2010 - 45
American Cinematographer - July 2010 - 46
American Cinematographer - July 2010 - 47
American Cinematographer - July 2010 - 48
American Cinematographer - July 2010 - 49
American Cinematographer - July 2010 - An Emotional Rebirth (I Am Love)
American Cinematographer - July 2010 - 51
American Cinematographer - July 2010 - 52
American Cinematographer - July 2010 - 53
American Cinematographer - July 2010 - 54
American Cinematographer - July 2010 - 55
American Cinematographer - July 2010 - 56
American Cinematographer - July 2010 - 57
American Cinematographer - July 2010 - Crowning Achievements (The Tudors)
American Cinematographer - July 2010 - 59
American Cinematographer - July 2010 - 60
American Cinematographer - July 2010 - 61
American Cinematographer - July 2010 - 62
American Cinematographer - July 2010 - 63
American Cinematographer - July 2010 - 64
American Cinematographer - July 2010 - 65
American Cinematographer - July 2010 - 66
American Cinematographer - July 2010 - 67
American Cinematographer - July 2010 - Post Focus: Enhancing Frozen
American Cinematographer - July 2010 - 69
American Cinematographer - July 2010 - 70
American Cinematographer - July 2010 - 71
American Cinematographer - July 2010 - Filmmakers’ Forum: Gale Tattersall
American Cinematographer - July 2010 - 73
American Cinematographer - July 2010 - New Products & Services
American Cinematographer - July 2010 - 75
American Cinematographer - July 2010 - 76
American Cinematographer - July 2010 - 77
American Cinematographer - July 2010 - 78
American Cinematographer - July 2010 - 79
American Cinematographer - July 2010 - 80
American Cinematographer - July 2010 - 81
American Cinematographer - July 2010 - International Marketplace
American Cinematographer - July 2010 - Classified Ads
American Cinematographer - July 2010 - Ad Index
American Cinematographer - July 2010 - 85
American Cinematographer - July 2010 - In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
American Cinematographer - July 2010 - Clubhouse News
American Cinematographer - July 2010 - ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - Cover3
American Cinematographer - July 2010 - Cover4
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