American Cinematographer - September 2013 - 91

The production utilized an 8K sausage
balloon for a night exterior outside an old
cabin where Bob hides from the law.

level. Those Par cans were at full blast;
when they hit the lens, we would almost
lose the image for a couple of seconds. It
fits that scene because he’s so paranoid.
For the daytime driving scene in
which Bob carjacks Will [Rami
Malek], were you supplementing the
daylight inside the car?
Young: We tabled off a 12-by-12
solid that basically extended over the
whole car, and I pumped in 5Ks gelled
with Full Blue and pushed through Full
Grid or silks, so the light was super soft,
almost wispy. We used the word ‘wispy’
a lot. You felt it but you didn’t really see
it. That was an important idea for that
scene. I wanted to make the car very
subdued so that you can see the faces,
but they’re almost silhouetted against
landscape. I had just enough light to get
their eyes or wrap around the cheekbones. I had one [light] on Casey and
one on Rami, and I leaned more toward
exposing for the landscape than exposing for the car.
In the store that Skerritt runs,
bare tungsten bulbs hang from the
ceiling and daylight comes in through
the front windows. Did you have big
units outside to serve as sunlight?
Young: No. Any daylight you see
in the store is what was available. The
sun stayed behind us the whole day, so
when we were looking out the front, we

weren’t getting direct sun. I used
UltraBounce for a little more control
and a little more contrast; we just repositioned it at times to give us a little
more pump. All the bulbs you see hanging from the ceiling lit the wide shots.
For the close-ups, it became very
complicated to control the bare bulbs
because of all the shadows, which
weren’t very pleasant. [The light] wasn’t
punchy enough. We tried to use China
balls, but then [the actors] just seemed
too beautiful. So we ended up using clip
lights with silver hoods from Home
Depot, and we clipped gels to the front.
For all the close-up work with Casey
and Keith at the cash register, we
shaped the light with a clip light on a
C-stand. If you saw a picture of it, you’d
say, ‘C’mon, guys, get it together!’
[Laughs.]
How did you approach Sweetie’s
bar? It has an almost subterranean
feel.
Young: I had two soft lights, 1K
and 2K Zip lights, coming back toward
camera from what was supposed to be
the front door. One was over the door
and one was over the cigarette-vending
machine. There was also an old-school
practical fixture on the shelf above the
bar; we put a brown paper bag over it to
make the light really warm, and we also
put a brown paper bag in front of one of
the Zip lights. We also had a practical
bulb over the jukebox, bulbs over the
pool table, and a bulb on the wall at the
door. Over the tables, we rigged some
household floodlights so the tables
could pick up a little bit. Once Casey
sits, he’s hit by the Zip light, and I had
a little bounce just off camera. For Nate
[Parker], we had to bring the light in
closer and cut it up. The light expires on
Nate’s face really quickly, but with
Casey it just wraps and keeps going.
What lights did you have
outside Ruth’s house to light her as she
walks to Skerritt’s to deliver her letter?
Young: I had two sodium vapors
in the package, a 400-watt and a 1,000watt. When she walks to Skerritt’s, she
walks through a pool of light from the
1,000-watt sodium vapor on a Crank91


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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
American Cinematographer - September 2013 - 10
American Cinematographer - September 2013 - 11
American Cinematographer - September 2013 - 12
American Cinematographer - September 2013 - 13
American Cinematographer - September 2013 - 14
American Cinematographer - September 2013 - 15
American Cinematographer - September 2013 - 16
American Cinematographer - September 2013 - 17
American Cinematographer - September 2013 - 18
American Cinematographer - September 2013 - 19
American Cinematographer - September 2013 - 20
American Cinematographer - September 2013 - 21
American Cinematographer - September 2013 - 22
American Cinematographer - September 2013 - 23
American Cinematographer - September 2013 - 24
American Cinematographer - September 2013 - 25
American Cinematographer - September 2013 - 26
American Cinematographer - September 2013 - 27
American Cinematographer - September 2013 - 28
American Cinematographer - September 2013 - 29
American Cinematographer - September 2013 - 30
American Cinematographer - September 2013 - 31
American Cinematographer - September 2013 - 32
American Cinematographer - September 2013 - 33
American Cinematographer - September 2013 - 34
American Cinematographer - September 2013 - 35
American Cinematographer - September 2013 - 36
American Cinematographer - September 2013 - 37
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
American Cinematographer - September 2013 - 41
American Cinematographer - September 2013 - 42
American Cinematographer - September 2013 - 43
American Cinematographer - September 2013 - 44
American Cinematographer - September 2013 - 45
American Cinematographer - September 2013 - 46
American Cinematographer - September 2013 - 47
American Cinematographer - September 2013 - 48
American Cinematographer - September 2013 - 49
American Cinematographer - September 2013 - 50
American Cinematographer - September 2013 - 51
American Cinematographer - September 2013 - 52
American Cinematographer - September 2013 - 53
American Cinematographer - September 2013 - 54
American Cinematographer - September 2013 - 55
American Cinematographer - September 2013 - 56
American Cinematographer - September 2013 - 57
American Cinematographer - September 2013 - 58
American Cinematographer - September 2013 - 59
American Cinematographer - September 2013 - 60
American Cinematographer - September 2013 - 61
American Cinematographer - September 2013 - 62
American Cinematographer - September 2013 - 63
American Cinematographer - September 2013 - 64
American Cinematographer - September 2013 - 65
American Cinematographer - September 2013 - 66
American Cinematographer - September 2013 - 67
American Cinematographer - September 2013 - 68
American Cinematographer - September 2013 - 69
American Cinematographer - September 2013 - 70
American Cinematographer - September 2013 - 71
American Cinematographer - September 2013 - 72
American Cinematographer - September 2013 - 73
American Cinematographer - September 2013 - 74
American Cinematographer - September 2013 - 75
American Cinematographer - September 2013 - 76
American Cinematographer - September 2013 - 77
American Cinematographer - September 2013 - 78
American Cinematographer - September 2013 - 79
American Cinematographer - September 2013 - 80
American Cinematographer - September 2013 - 81
American Cinematographer - September 2013 - 82
American Cinematographer - September 2013 - 83
American Cinematographer - September 2013 - 84
American Cinematographer - September 2013 - 85
American Cinematographer - September 2013 - 86
American Cinematographer - September 2013 - 87
American Cinematographer - September 2013 - 88
American Cinematographer - September 2013 - 89
American Cinematographer - September 2013 - 90
American Cinematographer - September 2013 - 91
American Cinematographer - September 2013 - 92
American Cinematographer - September 2013 - 93
American Cinematographer - September 2013 - 94
American Cinematographer - September 2013 - 95
American Cinematographer - September 2013 - 96
American Cinematographer - September 2013 - 97
American Cinematographer - September 2013 - 98
American Cinematographer - September 2013 - 99
American Cinematographer - September 2013 - 100
American Cinematographer - September 2013 - 101
American Cinematographer - September 2013 - 102
American Cinematographer - September 2013 - 103
American Cinematographer - September 2013 - 104
American Cinematographer - September 2013 - 105
American Cinematographer - September 2013 - 106
American Cinematographer - September 2013 - 107
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American Cinematographer - September 2013 - 109
American Cinematographer - September 2013 - 110
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American Cinematographer - September 2013 - 112
American Cinematographer - September 2013 - 113
American Cinematographer - September 2013 - 114
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American Cinematographer - September 2013 - 116
American Cinematographer - September 2013 - 117
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American Cinematographer - September 2013 - 120
American Cinematographer - September 2013 - Cover3
American Cinematographer - September 2013 - Cover4
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