American Cinematographer - July 2017 - 72

◗

Speed of Light

Top: Physicist Dr.
Philipp Lenard
(Michael
McElhatton)
addresses a room.
Bottom: The scene
is captured with a
camera mounted
on a Grip Factory
Munich GF-Jib.

constant ability to reach the actor's eyes.
So often people are naturally lit like that
in our everyday lives. The sun falls
through the window, hits the ground,
and bounces back up and hits people
from below." He is also inclined to
frame actors with considerable headroom, "framing for the space where the
actor happens to be," he says. "People
joke, 'if you shoot with Mathias, you
save a lot of money, because you don't
72

July 2017

have to buy shoes for the actors.' I rarely
shoot people's feet. Genius lent itself to
that aesthetic very much."
The cinematographer muses that
in addition to the negative pressures
Einstein was under, "he was also influenced by his surroundings and inspired
in a positive way. Trees, light, nature
itself, women, and the energy of the
environment he was in always were a
huge part of everything he was about.
American Cinematographer

The settings of the story have so much
influence on his character; I felt it was
very important to treat the environment
around our cast as a character in itself.
That in turn works perfectly with my
affection for lighting from below the
frame."
Color was also extremely important to Herndl's approach, and he
worked closely with senior colorist
Pankaj Bajpai at Deluxe in Hollywood
to fully realize the desired palette.
"Anyone who tells you that close to 50
percent of a modern cinematographer's
work is not happening in postproduction is either not doing it right or is lying
to you," Herndl asserts. "In order to
keep up with the schedules that are
thrust upon cinematographers nowadays, in order to deliver the amount of
coverage necessary, in order to keep up
with the demands, you have to be very
wise about what work you do on set and
what work you can do in grading."
With Herndl shooting in Prague
and Bajpai working in Hollywood, "we
had to be very, very clear about understanding what the fundamentals were,"
says the colorist. "One of several conver-



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
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American Cinematographer - July 2017 - 33
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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
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