American Cinematographer - October 2014 - 33

time ago, he gave me a birthday present of
one day of shooting for free - which is
funny because I barely paid him anything in
the past! I had to cash in that birthday
present; he literally came up for one day of
shooting.
Sean Price Williams: Robert asked
me to shoot something more stylized. He
had been collecting sequences in a more
direct-cinema fashion, but it was always in
the original conception that we would play
with Brandy's own role-playing by having
scenes that felt more like a possible fiction.
We had her putting on makeup, we had
her take a shower, we had her at the sink
breaking dishes. We even faked her cutting
herself on a glass. The shot where she grabs
a coat hanger from her kid was not
planned; we were just walking around the
house following her. Robert loves that shot,
but I still don't see what he sees in it. Maybe
one needs 'parent eyes.'
Did you bring in lighting for
these scenes?
Williams: We had the practicals and
one or two clamp lights that we sometimes

put on the floor. I wanted to add unnatural
light from weird angles to make it feel sort
of bogus. I put the lights on the floor in the
shower and played with the white balance
to make it look almost like she is on fire,
melting instead of enjoying a refreshing
rinse. I also used my nose-grease filter for
these scenes, giving it all a little bit of [British
photographer and filmmaker] David Hamilton flair. Composition in general is often
compromised in direct cinema, but I always
try my hardest to make it all look like a
movie if I can. The slo-mo scenes were
certainly more composed than the rest of
the film.
Greene: The red-dress sequences
were just a matter of using light creatively.
We wanted a look that felt like Brandy was
on a stage. That was the only sequence we
lit with strong shadow and backlight.
Describe your editing workflow.
Greene: I edited in a ProRes 4:2:2
HQ 1080 timeline at 23.98 in Final Cut Pro
to a ProRes 4:2:2 HQ master. I did very mild
color correction. For this film, I wouldn't
have minded having a colorist come on

board, but there was no money for that.
We have been screening on HDCam and
Blu-ray. For theatrical, it is a DCP.
Looking back, it must have been
awkward stepping into the middle of a
collapsing relationship happening right
next door.
Greene: Oh, it was very troubling in
some ways. Neither Brandy nor Tim signed
release forms until they saw the movie. I
wanted them to feel safe. Ultimately, the
film is about Brandy. She felt I gave her a
voice for her own frustrations and reality.
The secret to this was that Tim went to film
school. He could have shut the project
down multiple times, but part of him
wanted to make a great film and didn't
want to stand in the way of it.

TECHNICAL SPECS
1.78:1
Digital Capture
Panasonic AG-DVX100B, AG-HPX170
●

33


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American Cinematographer - October 2014

Table of Contents for the Digital Edition of American Cinematographer - October 2014

Contents
American Cinematographer - October 2014 - Cover1
American Cinematographer - October 2014 - Cover2
American Cinematographer - October 2014 - 1
American Cinematographer - October 2014 - 2
American Cinematographer - October 2014 - Contents
American Cinematographer - October 2014 - 4
American Cinematographer - October 2014 - 5
American Cinematographer - October 2014 - 6
American Cinematographer - October 2014 - 7
American Cinematographer - October 2014 - 8
American Cinematographer - October 2014 - 9
American Cinematographer - October 2014 - 10
American Cinematographer - October 2014 - 11
American Cinematographer - October 2014 - 12
American Cinematographer - October 2014 - 13
American Cinematographer - October 2014 - 14
American Cinematographer - October 2014 - 15
American Cinematographer - October 2014 - 16
American Cinematographer - October 2014 - 17
American Cinematographer - October 2014 - 18
American Cinematographer - October 2014 - 19
American Cinematographer - October 2014 - 20
American Cinematographer - October 2014 - 21
American Cinematographer - October 2014 - 22
American Cinematographer - October 2014 - 23
American Cinematographer - October 2014 - 24
American Cinematographer - October 2014 - 25
American Cinematographer - October 2014 - 26
American Cinematographer - October 2014 - 27
American Cinematographer - October 2014 - 28
American Cinematographer - October 2014 - 29
American Cinematographer - October 2014 - 30
American Cinematographer - October 2014 - 31
American Cinematographer - October 2014 - 32
American Cinematographer - October 2014 - 33
American Cinematographer - October 2014 - 34
American Cinematographer - October 2014 - 35
American Cinematographer - October 2014 - 36
American Cinematographer - October 2014 - 37
American Cinematographer - October 2014 - 38
American Cinematographer - October 2014 - 39
American Cinematographer - October 2014 - 40
American Cinematographer - October 2014 - 41
American Cinematographer - October 2014 - 42
American Cinematographer - October 2014 - 43
American Cinematographer - October 2014 - 44
American Cinematographer - October 2014 - 45
American Cinematographer - October 2014 - 46
American Cinematographer - October 2014 - 47
American Cinematographer - October 2014 - 48
American Cinematographer - October 2014 - 49
American Cinematographer - October 2014 - 50
American Cinematographer - October 2014 - 51
American Cinematographer - October 2014 - 52
American Cinematographer - October 2014 - 53
American Cinematographer - October 2014 - 54
American Cinematographer - October 2014 - I3
American Cinematographer - October 2014 - I4
American Cinematographer - October 2014 - 55
American Cinematographer - October 2014 - 56
American Cinematographer - October 2014 - 57
American Cinematographer - October 2014 - 58
American Cinematographer - October 2014 - 59
American Cinematographer - October 2014 - 60
American Cinematographer - October 2014 - 61
American Cinematographer - October 2014 - 62
American Cinematographer - October 2014 - 63
American Cinematographer - October 2014 - 64
American Cinematographer - October 2014 - 65
American Cinematographer - October 2014 - 66
American Cinematographer - October 2014 - 67
American Cinematographer - October 2014 - 68
American Cinematographer - October 2014 - 69
American Cinematographer - October 2014 - 70
American Cinematographer - October 2014 - 71
American Cinematographer - October 2014 - 72
American Cinematographer - October 2014 - 73
American Cinematographer - October 2014 - 74
American Cinematographer - October 2014 - 75
American Cinematographer - October 2014 - 76
American Cinematographer - October 2014 - 77
American Cinematographer - October 2014 - 78
American Cinematographer - October 2014 - I1
American Cinematographer - October 2014 - I2
American Cinematographer - October 2014 - 79
American Cinematographer - October 2014 - 80
American Cinematographer - October 2014 - 81
American Cinematographer - October 2014 - 82
American Cinematographer - October 2014 - 83
American Cinematographer - October 2014 - 84
American Cinematographer - October 2014 - 85
American Cinematographer - October 2014 - 86
American Cinematographer - October 2014 - 87
American Cinematographer - October 2014 - 88
American Cinematographer - October 2014 - 89
American Cinematographer - October 2014 - 90
American Cinematographer - October 2014 - 91
American Cinematographer - October 2014 - 92
American Cinematographer - October 2014 - 93
American Cinematographer - October 2014 - 94
American Cinematographer - October 2014 - 95
American Cinematographer - October 2014 - 96
American Cinematographer - October 2014 - 97
American Cinematographer - October 2014 - 98
American Cinematographer - October 2014 - 99
American Cinematographer - October 2014 - 100
American Cinematographer - October 2014 - 101
American Cinematographer - October 2014 - 102
American Cinematographer - October 2014 - 103
American Cinematographer - October 2014 - 104
American Cinematographer - October 2014 - 105
American Cinematographer - October 2014 - 106
American Cinematographer - October 2014 - 107
American Cinematographer - October 2014 - 108
American Cinematographer - October 2014 - 109
American Cinematographer - October 2014 - 110
American Cinematographer - October 2014 - 111
American Cinematographer - October 2014 - 112
American Cinematographer - October 2014 - 113
American Cinematographer - October 2014 - 114
American Cinematographer - October 2014 - 115
American Cinematographer - October 2014 - 116
American Cinematographer - October 2014 - Cover3
American Cinematographer - October 2014 - Cover4
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