American Cinematographer - August 2017 - 65

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Haunted House
to this pioneer.
Was there a stop you tried to
maintain?
Palermo: No, I don't normally
shoot for stop. The 50mm [Ultra Speed]
would go to a T1, and I was in love with
that idea. The first time we used it was
the close-up of Rooney with her headphones on; that lens was just stunning.
So that lens worked in close-ups all the
way open. But otherwise I just set the
aperture as felt appropriate. Generally I
was shooting as wide open as I could.
There's still a lot of depth in the
image.
Palermo: That's from the lenses
being so wide and the subjects always
being so far from the camera. But I
would always snug up against a doorframe so there would be a little something on the side that's soft, and then
everything else would be sharp past the
midground and into infinity.
There's a shot in which the
camera pushes in as Rooney is seen
walking out of the bathroom, crossing
to the front door, and leaving the house
multiple times in a row, each time
wearing different clothes. Did you
have a motion-control rig?
Palermo: This speaks to the
benefit of shooting films where you have
a support system. The producers had a
friend, Stewart Mayer at CamBlock,
who had developed this motion-control
rig. The camera had to be totally
stripped down and very lightweight, and
he had a very small set of sticks that
went on a track system. He could set
pan, focus and the push, and he could set
key frames. We had Rooney, her standin and another woman; they went in a
train, one after the other, and we had
Rooney change positions in each take,
and then it was all comped together. We
used the motion-control system for just
a couple hours and then it was gone.
That shot swiftly illustrates that time is
beginning to slip by.
Was visual-effects supervisor
Richard Krause with you during the
shoot?
Palermo: Not every day. I've had
some experience shooting visual effects,

and David of course has as well, so we
both had an eye on it. I don't think we
ever had markers except for greenscreen
stuff. The scene in which the ghost
climbs to the top of the skyscraper, that's
all work that [visual-effects facility]
Weta did, and it's absolutely stunning
work on their part; we shot the ghost on
greenscreen, climbing up apple boxes,
with some markers in the studio.
Who did you work with for the
color grading?
Palermo: Joe Malina in Austin.
He and I have done a few things
together in the past, but it was the first
time David had worked with him. It was
a real race to get the movie done in the
end [once it had been selected to screen
at Sundance]. We did five days of color
correction in early December, before the
cut was locked. Because there are so few
shots, we got pretty far - but there was
a lot of work to be done on each shot.
We didn't have any kind of pre-grade, so
the footage came in exactly as shot -
different months, at different times of
day, the same scene shot over different
conditions.
When David locked picture, there
were an additional two or three days,
and then a few more days after
Sundance. But it was not that long. I
really love color timing, and it's always
sad for me to do it quickly.
You could still be in there working on the movie?
Palermo: I really could, trying to
do the most with as little as possible.
There's a point of diminished returns,
where we've gone too far and it becomes
way too manipulated, but I really feel a
lot of the emotion comes out in color.
Were you watching any dailies
during production?
Palermo: Yeah, and I was also
capturing stills on my day off. That
would give me a whole day of sitting
with the drive, watching the footage,
seeing what was working, what wasn't.
The time off in between principal and
pickups was really educational, too -
seeing the cut, seeing where I should
push harder. Some of the widest shots in
the movie were shot after principal. ➣


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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
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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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