American Cinematographer - July 2017 - 71

The crew captures a dinner scene with multiple cameras.

Glare Effect filters, which incorporate
small prisms, glass rods and crystals in
order to reflect and refract light from
outside the frame. "We used them especially when Einstein was getting into a
thought experiment or started to imagine something," the director of photography explains. "There are moments all
over the show when Einstein is considering something - he's considering the
sun hitting a tree, or he's considering a
candle. We combined that filtration
with extreme wide-open lenses and
minimum focus; I played with the
remote iris to augment flares in and out,
and my focus puller moved the [focus]
plane to shift in different directions.
What you get is an extremely shallow
depth of field - only one eye in focus,
with the rest completely falling off."
Herndl's lighting style on Genius
is heavily reliant on augmentation and
subtraction. "Often people comment
how little lighting equipment is visible
inside our sets and locations," he notes.
"It looks like minimal lighting, but
outside the windows you would find a
big mess of lifts and condors carrying a
large number of HMIs, predominantly
the Arri M-Series for their punch and
versatility."
Inside the sets - which were
almost all locations found in the Czech
Republic - Herndl worked with gaffer

David Kriz from Prague-based lighting
company Enzo Cine to incorporate
practicals and bounces. "Often when
one bounces light off any surface, you
find yourself having to control
unwanted spill with flags or nets or
diffusion," says Herndl. "All of a sudden
[you have] stands and flags and sandbags that cameras have to avoid and
actors have to work around."
To avoid that scenario, Herndl
instead uses what he calls "coves," which
he describes as "14-inch by 3-foot
bounce cards folded at a 90-degree angle
and taped to a triangular piece on one
end. They are simple and perfect for
putting on the ground to bounce a light
into. The big advantage is you save time
and space, as you don't have to control
them in a traditional fashion. Due to
their shape, they self-focus simply by
turning them, and with only a minor
amount of spill; if you want to avoid spill
from the top, you turn them upside
down. Instead of having to hang a light
or a bounce board, I like to bounce a
Leko into a cove. It is faster, and I enjoy
the quality of the soft light. Due to their
shape, coves don't have a hot spot and
therefore are even softer than traditional
straight bounces."
Herndl is drawn to lighting "from
below the actor's eyeline," he says. "I love
the shape low lighting creates, and the
71



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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
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American Cinematographer - July 2017 - 65
American Cinematographer - July 2017 - 66
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American Cinematographer - July 2017 - 70
American Cinematographer - July 2017 - 71
American Cinematographer - July 2017 - 72
American Cinematographer - July 2017 - 73
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American Cinematographer - July 2017 - 79
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American Cinematographer - July 2017 - 84
American Cinematographer - July 2017 - 85
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American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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