American Cinematographer - July 2014 - 75
very, very dark," says Braier. "But when
he opens the door, we get to see some
detail: next to him are all these old TVs
and all this other junk. Then, when the
door closes behind him, it's almost
black. There is detail at minus 41⁄2
stops."
On set, she used her Canon EOS
5D Mark II to show Michôd exactly
how dark she was going. "I could take a
photo with my custom settings that
more or less replicated the film
gamma," she says. "It was really important that David knew what I was doing
in that moment and not four months
later."
"Natasha's nickname became
'The Painter,'" Michôd notes. "She'd
sidle up and show me these photos,
which were like beautiful oil paintings;
she was building these Caravaggios. You
could see the joy on her face."
Braier's photos also informed the
dailies, done through Sydney's DDP
Studios, an integrated post facility
launched in 2013 by Deluxe Australia.
(The Rover was the final feature to go
through 35mm processing and telecine
dailies there. The lab was closed in April
2013.) "I'd take those photos and
slightly grade them, then send them to
the telecine operator so they could get
the dailies quite close to what I was
doing," she says. "If I'm lighting some
scene very dark and moody, David
Top and Middle: Eric confronts the men who stole his car. Bottom: Braier and director David
Michôd (at camera, wearing brown hat) prep a car-chase sequence.
www.theasc.com
July 2014
75
http://www.theasc.com
American Cinematographer - July 2014
Table of Contents for the Digital Edition of American Cinematographer - July 2014
Contents
American Cinematographer - July 2014 - Cover1
American Cinematographer - July 2014 - Cover2
American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
American Cinematographer - July 2014 - Contents
American Cinematographer - July 2014 - 4
American Cinematographer - July 2014 - 5
American Cinematographer - July 2014 - 6
American Cinematographer - July 2014 - 7
American Cinematographer - July 2014 - 8
American Cinematographer - July 2014 - 9
American Cinematographer - July 2014 - 10
American Cinematographer - July 2014 - 11
American Cinematographer - July 2014 - 12
American Cinematographer - July 2014 - 13
American Cinematographer - July 2014 - 14
American Cinematographer - July 2014 - 15
American Cinematographer - July 2014 - 16
American Cinematographer - July 2014 - 17
American Cinematographer - July 2014 - 18
American Cinematographer - July 2014 - 19
American Cinematographer - July 2014 - 20
American Cinematographer - July 2014 - 21
American Cinematographer - July 2014 - 22
American Cinematographer - July 2014 - 23
American Cinematographer - July 2014 - 24
American Cinematographer - July 2014 - 25
American Cinematographer - July 2014 - 26
American Cinematographer - July 2014 - 27
American Cinematographer - July 2014 - 28
American Cinematographer - July 2014 - 29
American Cinematographer - July 2014 - 30
American Cinematographer - July 2014 - 31
American Cinematographer - July 2014 - 32
American Cinematographer - July 2014 - 33
American Cinematographer - July 2014 - 34
American Cinematographer - July 2014 - 35
American Cinematographer - July 2014 - 36
American Cinematographer - July 2014 - 37
American Cinematographer - July 2014 - 38
American Cinematographer - July 2014 - 39
American Cinematographer - July 2014 - 40
American Cinematographer - July 2014 - 41
American Cinematographer - July 2014 - 42
American Cinematographer - July 2014 - 43
American Cinematographer - July 2014 - 44
American Cinematographer - July 2014 - 45
American Cinematographer - July 2014 - 46
American Cinematographer - July 2014 - 47
American Cinematographer - July 2014 - 48
American Cinematographer - July 2014 - 49
American Cinematographer - July 2014 - 50
American Cinematographer - July 2014 - 51
American Cinematographer - July 2014 - 52
American Cinematographer - July 2014 - 53
American Cinematographer - July 2014 - 54
American Cinematographer - July 2014 - 55
American Cinematographer - July 2014 - 56
American Cinematographer - July 2014 - 57
American Cinematographer - July 2014 - 58
American Cinematographer - July 2014 - 59
American Cinematographer - July 2014 - 60
American Cinematographer - July 2014 - 61
American Cinematographer - July 2014 - 62
American Cinematographer - July 2014 - 63
American Cinematographer - July 2014 - 64
American Cinematographer - July 2014 - 65
American Cinematographer - July 2014 - 66
American Cinematographer - July 2014 - 67
American Cinematographer - July 2014 - 68
American Cinematographer - July 2014 - 69
American Cinematographer - July 2014 - 70
American Cinematographer - July 2014 - 71
American Cinematographer - July 2014 - 72
American Cinematographer - July 2014 - 73
American Cinematographer - July 2014 - 74
American Cinematographer - July 2014 - 75
American Cinematographer - July 2014 - 76
American Cinematographer - July 2014 - 77
American Cinematographer - July 2014 - 78
American Cinematographer - July 2014 - 79
American Cinematographer - July 2014 - 80
American Cinematographer - July 2014 - 81
American Cinematographer - July 2014 - 82
American Cinematographer - July 2014 - 83
American Cinematographer - July 2014 - 84
American Cinematographer - July 2014 - 85
American Cinematographer - July 2014 - 86
American Cinematographer - July 2014 - 87
American Cinematographer - July 2014 - 88
American Cinematographer - July 2014 - 89
American Cinematographer - July 2014 - 90
American Cinematographer - July 2014 - 91
American Cinematographer - July 2014 - 92
American Cinematographer - July 2014 - Cover3
American Cinematographer - July 2014 - Cover4
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