American Cinematographer - August 2017 - 56

◗

Dark Hospitality

The camera rolls for a scene in which Miss Edwina checks on McBurney as he convalesces in the parlor.

particular the scenes with the girls at
prayer.
Le Sourd: That was one of the
more difficult sets to have to work with
because it was very small, with white
walls. Not only did I have to create the
feeling that everything was lit by
candlelight, but you had to see all the
characters. I used a wide lens, so there
was no room to have any light. It was
one of the last things we shot on the
film, and it was one of the most challenging. I had my Celeb from the
camera side, strongly diffused.
Sometimes I have to bounce light
off the ceiling. No matter what, I light
only where the action is. I want only to
play with the character and the emotion
of the character. I want to give the negative something, but I avoid 3⁄4 backlight; in general, it makes the scene feel
very artificial.
What about night exteriors?
Le Sourd: When I first read the
script, I knew I was going to light the
night interiors with candlelight and the
night exteriors with 'moonlight,' but I
didn't want to have this feeling of going
from something that's very formal and
natural to this artificial blue light. Sofia
and I decided that we had to avoid this
convention and even went in the opposite direction, using warm 20Ks [with56

August 2017

out gels] on condors for our nighttime
exteriors. I didn't want to be distracted
by the color. We almost never put light
through the windows for the 'night
effect' - it would have been distracting.
Let's talk about day interiors.
We spend a lot of time with McBurney
in the parlor where he convalesces.
That room has two huge floor-to-ceiling windows that the light just pours
through.
Le Sourd: A couple of months
ago I saw this amazing Vermeer exhibition in Paris. If you look at his paintings,
everything seems to have been lit by
windows. It's something I tried to
achieve on this film. The lights - 12light Dinos with ¾ Blue, and 18Ks -
were coming through the window, and I
always used atmosphere on all the interior shots. It felt like nothing had been
lit artificially.
I thought I noticed a distinct yet
subtle change in the film's visual
language after the soldier's leg is
amputated. Am I imagining things?
Le Sourd: We did change our
approach. The camera would be lower
to the ground, whereas before it was
closer to the actors' eye level. Our lighting choices would tend towards the
more dramatic, with more shadow,
more obscurities. And we went wider in
American Cinematographer

our framing. Instead of using a 50mm,
I'd use a 35mm; instead of a 35mm, I'd
use a 25mm or 18mm.
Where were your dailies
processed?
Le Sourd: We sent our negative
to FotoKem in Los Angeles. They
scanned the negative at 4K and sent me
still frames so I could see what our
dailies colorist, Dan Garsha, was doing,
and I could make adjustments to the
color and density using FotoKem's
Cineviewer application. We screened
the dailies in 2K on a calibrated monitor
or in a theater with a 2K projector.
Where did you do the final
color grade?
Le Sourd: Colorist Damien van
der Cruyssen did some beautiful final
touches [working in 2K with a
FilmLight] Baselight at Technicolor
New York. We were basically staying
true to what I had shot, making minor
adjustments to the skin tones of all the
different actors. We never changed the
density - that had already been set in
the dailies.
Did you do a film-out?
Le Sourd: We made an amazing
print with Technicolor and FotoKem,
with Kodak's Vision Color Print Film
2383. It was such a reward, because I
couldn't have achieved what I did without the beauty of the negative film
stock. No matter what the resolution
may be, digital can't give me the
textures, the quality in the skin tones,
and the beauty in the blacks and the
highlights. This movie needs to be seen
on film, in the theater!
●

TECHNICAL SPECS
1.66:1
4-perf 35mm
Arricam Lite
Cooke S2 Speed Panchro;
Panavision Ultra Speed, PVintage,
Primo Zoom
Kodak Vision3 500T 5219
Digital Intermediate



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
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American Cinematographer - August 2017 - 60
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American Cinematographer - August 2017 - 62
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American Cinematographer - August 2017 - 79
American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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