American Cinematographer - September 2013 - 18

the 5K softboxes, and that gave us harsh
shadows and really delivered the tone
Monica was looking for.” To help flare the
lens and create in-camera blooms of light
around Palladino, Laxton utilized a Tiffen
Ultra Contrast filter.
“My gaffer, Marc Antoine Serou,
would walk around the set with a Leko,
trying different options to create flares on
the edges of the frame in the wide shot, and
even in some of the close-ups,” Laxton
relates. “All of that came from just being
very playful with the light.
“There’s definitely a rawness to the
concept, the lighting and the camera style,
but at the same time there’s a delicacy to it,
which helps to mirror the duality that’s the
subject of the song,” he continues. “There’s
a roughness, a rawness, but we also made
sure to add some beauty light — a 5K softbox with a 4-by-4 of 250 diffusion — so our
artists looked their best. It’s a bit of a balance
between those two worlds, but I think we
achieved it.
“This project was definitely a departure from the other work I’ve done, and
that’s exactly what attracted me to it,” says
Laxton, whose credits include the indies The
Myth of the American Sleepover and Medicine for Melancholy. (The latter was nominated for an Independent Spirit Award for
Best Cinematography.)
“White Noise” was Laxton’s first
foray into short-form work. “I’m very new
to this part of the business, but I really love
it,” he says. “There’s a great freedom to
shooting commercials and music videos that
I haven’t often found in features. ‘White
Noise’ is a good example of that. All artists
look for challenges in our work, and this
was definitely a challenge.”
●

Top: Devon
Church takes the
plunge in this
frame grab.
Middle: Church
confers with
director Monica
Perez. Bottom:
The crew sets up
at a Los Angeles
swim school.

18

September 2013

American Cinematographer



American Cinematographer - September 2013

Table of Contents for the Digital Edition of American Cinematographer - September 2013

Contents
American Cinematographer - September 2013 - Cover1
American Cinematographer - September 2013 - Cover2
American Cinematographer - September 2013 - 1
American Cinematographer - September 2013 - 2
American Cinematographer - September 2013 - Contents
American Cinematographer - September 2013 - 4
American Cinematographer - September 2013 - 5
American Cinematographer - September 2013 - 6
American Cinematographer - September 2013 - 7
American Cinematographer - September 2013 - 8
American Cinematographer - September 2013 - 9
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American Cinematographer - September 2013 - 38
American Cinematographer - September 2013 - 39
American Cinematographer - September 2013 - 40
American Cinematographer - September 2013 - K1
American Cinematographer - September 2013 - K2
American Cinematographer - September 2013 - K3
American Cinematographer - September 2013 - K4
American Cinematographer - September 2013 - K5
American Cinematographer - September 2013 - K6
American Cinematographer - September 2013 - K7
American Cinematographer - September 2013 - K8
American Cinematographer - September 2013 - K9
American Cinematographer - September 2013 - K10
American Cinematographer - September 2013 - K11
American Cinematographer - September 2013 - K12
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American Cinematographer - September 2013 - 42
American Cinematographer - September 2013 - 43
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American Cinematographer - September 2013 - 48
American Cinematographer - September 2013 - 49
American Cinematographer - September 2013 - 50
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American Cinematographer - September 2013 - Cover3
American Cinematographer - September 2013 - Cover4
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