American Cinematographer - July 2017 - 56

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Crimes of Passion

Wegner relied heavily on natural light for scenes in Katherine's bedroom, with a
minimal lighting package for nighttime scenes.

4:4:4:4 XQ. "I would have loved to
shoot raw, but when I looked at the
whole budget, I decided that was probably a selfish thing to push for," she says.
"We did shoot some raw for the dayfor-night stuff, which I thought would
give us more grading possibilities." Dayfor-night sequences included most of
the night exteriors; Wegner thought
that lighting wide shots in a forest with
the production's minimal package
would be a fool's mission. "I like the look
we ended up with," she says. "It feels
suitably heightened."
While Wegner has created on-set
looks with other projects, she shot Lady
Macbeth without a DIT - and thus
without custom LUTs. "I felt confident
enough just working with Rec 709 to
know what I could do with it later," she
explains.
56

July 2017

The ProRes footage was captured
on SxS Pro+ 128GB cards, and the raw
footage on Codex XR Capture Drives.
Delivering data to the editor meant just
walking it a few yards. Editor Nick
Emerson was at the castle the whole
time, his suite behind the door that
Boris slips through when he meets his
doom. Working with the DNxHD 36
codec on an Avid Media Composer,
Emerson kept pace with production,
presenting rough-cut scenes every day
on his 17" monitor, on which the filmmakers would also watch dailies.
Emerson's proximity enabled the
filmmakers' spare approach to coverage.
If a reaction shot was needed or a singleshot scene didn't work, they'd know it
quickly. Shooting roughly in sequence
also meant that by the end of the third
week, Emerson had assembled threeAmerican Cinematographer

quarters of the film, making it clear
what pick-up shots were needed during
the final week. "Having Nick there and
not having to second-guess ourselves
was great," Wegner says. "It was nice to
have those conversations with an editor.
I feel like editors are a complementary
role to a cinematographer. You spend
this really intense period with the director, then [the editor] goes through a
whole other journey with them. I'm
usually on to something else, and
they're just getting started."
Shooting chronologically extended to the recurrent shots that show
Katherine's stultifying routine. "One
particular challenge was, 'How do we
tell a story about someone trapped and
bored, where time passes slowly, without actually boring the audience?'"
Wegner notes. The filmmakers
answered this by repeating certain
shots: Katherine being woken by the
maid, killing time gazing out her
bedroom window, dozing in the stifling
stillness of the drawing room. "Of
course, it would have been a lot quicker
to shoot [every shot for each routine] in
one day, but it was important to see the
passing of time, with different light and
small changes that might have been lost
had we taken the most efficient path
over the one that was stylistically in
keeping with our philosophy," the cinematographer says.
In Katherine's bedroom, those



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
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American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
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