American Cinematographer - July 2017 - 55

ods when she's unsupervised and free to
do as she pleases."
As the director elaborates, "I used
static, formal, wider shots to try to
objectify Katherine; you could say that
would be the men's point of view. She
stands next to literal objects, like a vase.
The camera doesn't move until she
begins to be aroused by the idea of independence and freedom with Sebastian;
that's when Ari takes it handheld."
When Boris returns, Katherine is
re-imprisoned inside the frame. Then in
the final act, when Katherine is thrown
off-kilter by the unexpected arrival of
her husband's young son, the camera
subtly reflects her state of mind. Frontal
and profile shots give way to 45-degree
angles, "just to jolt us a little," says
Wegner. "At this point, we also included
more over-shoulder shots, giving the
sense that she is being pushed out of her
home, out of the frame."
Lady Macbeth was shot in
September 2015 on a single Arri Alexa
XT Plus, coupled with Bausch & Lomb
Super Baltars. "The lenses had a natural,
flattering softness," says Wegner. The
vintage glass, in combination with some
atmosphere, allowed her to forgo filtration. She kept the aperture at T4. "I felt
that was where the lenses started to look
great, which meant there was quite a bit
of night stuff that we shot at 1,600
[ISO]," she says. "I preferred that over
T2.8 at 800 - the sharpness and
resolving power."
The workhorse lenses were
20mm and 35mm. Fortunately, the
20mm demonstrated very little distortion. "It was great for those big interior
wides, with all those upright architectural lines that you want to look really
clean and geometrically strong," the
cinematographer says. The 35mm was
used for the movie's close-ups, such as
they were. "They're more singles than
they are close-ups," notes Wegner, who
was mindful that they'd be on the giant
screen for what felt like a very long time.
"If you're watching that for 20, 30
seconds, your eye can create its own
close-ups as you take it all in."
Wegner shot 2K 12-bit ProRes

Top: A handheld camera underscores Katherine's freedom when her husband is away. Middle:
Wegner lines up the camera for a carriage-shot in a field. Bottom: Oldroyd observes as the
cinematographer captures a still while working on location.

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July 2017

55

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

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
American Cinematographer - July 2017 - 61
American Cinematographer - July 2017 - 62
American Cinematographer - July 2017 - 63
American Cinematographer - July 2017 - 64
American Cinematographer - July 2017 - 65
American Cinematographer - July 2017 - 66
American Cinematographer - July 2017 - 67
American Cinematographer - July 2017 - 68
American Cinematographer - July 2017 - 69
American Cinematographer - July 2017 - 70
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American Cinematographer - July 2017 - 82
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American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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