American Cinematographer - July 2017 - 59

Katherine sits at the dining table.

scene in the thick of the night. The
shutters are drawn, Katherine and
Sebastian are fast asleep, and she awakens to the sound of her husband's
arrival. "We struggled to motivate that
one, because it's not really moonlight,
since the shutters are closed," Wegner
says. "It's just like what your eyes see
when they're adjusted to the dark." The
cinematographer opted to position a
Celeb up high for cool fill and soft
backlight, bouncing the fixture into
muslin on the floor. When Katherine
hastily dresses and lights a lantern, the
practical was augmented by a Jem Ball
on a boom arm, skirted with black
duvetyn to control spill.
Another tricky night scene was
perhaps the project's most conceptual:
a moment of quiet following a murder.
As Katherine sits motionless in a room
with the body, waiting for dawn to
break and the household to rise, we see
time fly - from full night to morning
- over the course of 30 seconds. The
shot required all hands on deck.
"Everyone we had available on crew
was on dimmers in a coordinated way,"
says Wegner. As the daylight-corrected
Blondes stationed outside were
brought up, the interior Dedolights
and 650- and 300-watt Fresnels were
dimmed down. "We did that on a wide
shot as well, which was trickier, but we

ended up not using it in the edit," she
says. "In the grade, I massaged it a bit
to smooth the transition."
Color correction was performed
over nine days at Dirty Looks in
London. "These guys were amazing
and hugely influential in the final look
of the film," says Wegner. Colorist in
residence Vanessa Taylor graded on a
FilmLight Baselight system, working
in Arri's wide-gamut color space
converted to P3 for display on a 2K
Christie projector. The final deliverable
for cinema was 2K DCP.
"Vanessa was very creatively
involved," Wegner adds. "She's definitely a colorist who gives her honest
opinion and engages on a story level."
Integration was the overarching goal:
making day-for-night exteriors mesh
with night interiors, and lit interiors
cohere with unlit ones. "Finding a look
that worked for both, so they didn't feel
too disconnected," Wegner says.
"For the interiors, I used an HDR
LUT, which gave a nice kick to the
highlights with a smooth roll-off," the
colorist explains. "For the interior days, I
pushed more towards the cooler spectrum to enhance the fabulous blue of
[Katherine's] dress and the coldness of
the house. For the exteriors, I used a Fuji
print-emulation LUT to enhance the
purple and blue thistle tones native to
www.theasc.com

the north of England."
Shortly after Lady Macbeth's
appearance at New Directors/New
Films in New York, Wegner got word
that she'd be one of Variety's "10
Cinematographers to Watch" for 2017;
the magazine had included Oldroyd on
its "10 Directors to Watch" list in 2016,
after Lady Macbeth's debut at the
Toronto International Film Festival.
Clearly, the feature was a win-win
for director and cinematographer, but
Wegner's warm feelings about it stem
largely from her "genuine collaboration"
with Oldroyd. "We really hit it off from
day one," she says. "We had such great
and robust discussions, not only about
the cinematography but the film as a
whole - its story, character and
themes. I definitely feel like it won't be
our last project together." As for the
movie itself, she says, "I really love it. It's
such a strange little film. It's right up my
alley."
‚óŹ

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT Plus
Bausch & Lomb Super Baltar
July 2017

59


http://www.theasc.com

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