American Cinematographer - August 2017 - 53

its texture and grain, rated at 250 and
processed at 250 for the entire film. For
our exteriors I used an 85 filter and a
lot of NDs to shoot wide open, underexposing to desaturate the color. That
is always a challenge, to find the darkest side of the film negative.
There's
something
very
distinctive about the way you framed
the film using the 1.66:1 aspect ratio.
Le Sourd: We watched a lot of
[Robert] Bresson movies, like Au
Hasard Balthazar, because Bresson was
always shooting in a very economical
way - for example, using only the
50mm lens. On our film we only had
25 days, and that forced us to make
some very economic decisions. Do we
need to cover everyone? Do we need
only one shot? Where do we put the
camera? Do we only need their hand?
A close-up portrait in the 1.66:1
frame has a very different focus on the
character. We wanted to capture the
loneliness and imprisonment of the
women's monastic life, the idea of
confinement. If you look at portraits of
the 1860s, you'll see that they had two
kinds of lenses: lenses for portraits, like
a 50mm Petzval lens, and wider lenses
for landscapes. For this film, we were
more interested in the people than the
locations.
Did you have a preferred focal
length?
Le Sourd: I love the 50mm
Ultra Speed prime. There's something
really beautiful about it. You're never
far away from the actors when you
shoot and you are not too close, and
what you capture in the end is the true
emotion of the people. You're not
distracted by any distortion.
There are certain scenes,
particularly the one in which Miss
Martha visits the soldier in the plantation's garden, where all the detail in
the background seems to just disappear.
Le Sourd: I shot wide open even
outside, to give the exteriors a specific
look, almost like a painting with the
background out of focus. With the old
Petzval portrait lenses, the focus was

Top: Amy goes for a walk. Middle: The camera follows Laurence. Bottom: A dolly move keeps
pace with the actors for a shot of Amy guiding the wounded McBurney to the school.

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August 2017

53

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

Contents
American Cinematographer - August 2017 - Intro
American Cinematographer - August 2017 - Cover1
American Cinematographer - August 2017 - Cover2
American Cinematographer - August 2017 - 1
American Cinematographer - August 2017 - 2
American Cinematographer - August 2017 - Contents
American Cinematographer - August 2017 - 4
American Cinematographer - August 2017 - 5
American Cinematographer - August 2017 - 6
American Cinematographer - August 2017 - 7
American Cinematographer - August 2017 - 8
American Cinematographer - August 2017 - 9
American Cinematographer - August 2017 - 10
American Cinematographer - August 2017 - 11
American Cinematographer - August 2017 - 12
American Cinematographer - August 2017 - 13
American Cinematographer - August 2017 - 14
American Cinematographer - August 2017 - 15
American Cinematographer - August 2017 - 16
American Cinematographer - August 2017 - 17
American Cinematographer - August 2017 - 18
American Cinematographer - August 2017 - 19
American Cinematographer - August 2017 - 20
American Cinematographer - August 2017 - 21
American Cinematographer - August 2017 - 22
American Cinematographer - August 2017 - 23
American Cinematographer - August 2017 - 24
American Cinematographer - August 2017 - 25
American Cinematographer - August 2017 - 26
American Cinematographer - August 2017 - 27
American Cinematographer - August 2017 - 28
American Cinematographer - August 2017 - 29
American Cinematographer - August 2017 - 30
American Cinematographer - August 2017 - 31
American Cinematographer - August 2017 - 32
American Cinematographer - August 2017 - 32a
American Cinematographer - August 2017 - 32b
American Cinematographer - August 2017 - 32c
American Cinematographer - August 2017 - 32d
American Cinematographer - August 2017 - 33
American Cinematographer - August 2017 - 34
American Cinematographer - August 2017 - 35
American Cinematographer - August 2017 - 36
American Cinematographer - August 2017 - 37
American Cinematographer - August 2017 - 38
American Cinematographer - August 2017 - 39
American Cinematographer - August 2017 - 40
American Cinematographer - August 2017 - 41
American Cinematographer - August 2017 - 42
American Cinematographer - August 2017 - 43
American Cinematographer - August 2017 - 44
American Cinematographer - August 2017 - 45
American Cinematographer - August 2017 - 46
American Cinematographer - August 2017 - 47
American Cinematographer - August 2017 - 48
American Cinematographer - August 2017 - 49
American Cinematographer - August 2017 - 50
American Cinematographer - August 2017 - 51
American Cinematographer - August 2017 - 52
American Cinematographer - August 2017 - 53
American Cinematographer - August 2017 - 54
American Cinematographer - August 2017 - 55
American Cinematographer - August 2017 - 56
American Cinematographer - August 2017 - 57
American Cinematographer - August 2017 - 58
American Cinematographer - August 2017 - 59
American Cinematographer - August 2017 - 60
American Cinematographer - August 2017 - 61
American Cinematographer - August 2017 - 62
American Cinematographer - August 2017 - 63
American Cinematographer - August 2017 - 64
American Cinematographer - August 2017 - 65
American Cinematographer - August 2017 - 66
American Cinematographer - August 2017 - 67
American Cinematographer - August 2017 - 68
American Cinematographer - August 2017 - 69
American Cinematographer - August 2017 - 70
American Cinematographer - August 2017 - 71
American Cinematographer - August 2017 - 72
American Cinematographer - August 2017 - 73
American Cinematographer - August 2017 - 74
American Cinematographer - August 2017 - 75
American Cinematographer - August 2017 - 76
American Cinematographer - August 2017 - 77
American Cinematographer - August 2017 - 78
American Cinematographer - August 2017 - 79
American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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