American Cinematographer - November 2017 - 26

Above: An overhead shot captures an
intimate scene between Paige and Kris (Alex
Lynn Ward). Left: A previs rendering of the
same scene. Bottom: For a flashback scene,
cinematographer Jayson Crothers created an
overall warm look with an Arri M18 and a
K 5600 Joker-Bug 800, both with Full CTS,
positioned outside the window.

At what aperture did you shoot?
Crothers: I shot most of the film at
around a T5.6. While I might have shot at
wider stops had we been shooting on more
modern anamorphics, or even spherical
lenses, with the Kowas I found stopping
down helped them perform much better. I
also wanted to give Luis more to work with,
focus-wise, and having some wiggle room
in that regard took some pressure off of
everyone. And by shooting at a deeper stop,
26

November 2017

I was able to do a lot less in terms of my
lighting. Shooting at wider stops would have
meant more grip work to build in more
contrast, but shooting at a deeper stop
allowed me to let things fall off more
naturally and do less work on set. It's that
common discussion - a 1-stop difference
when shooting at a T2 might be 3
footcandles, whereas when shooting at a
5.6, it's now a difference of 25 footcandles.
How was your experience
American Cinematographer

working with a limited lighting
package?
Crothers: Our lighting package
consisted of an Arri M18 HMI, [a K 5600]
800-watt Joker-Bug and two 4-foot 4 Bank
Kino Flos; we also used a China ball for one
scene and a PAR can for two shots, but the
entire film was lit with just those six fixtures
and some practicals. Virtually every scene
was lit with just one or two lights. Since the
look of the film was rooted in [naturalism],
the minimal lighting worked for the look, the
energy on set, and the crew. Going into the
film, my primary concern was to create a
strong environment for the actors. I wanted
to give them as much time as possible and
keep things as simple as we could, so they
would have ample time to finesse their
performances in a space that was
uncluttered.
What techniques did you employ
for the warm light streaming through
the window in the flashback sequence?
Crothers: We [aimed] an Arri M18
through the window and an 800 Joker
through the window sheers, both with Full
CTS, to put an edge on the actors. We also
shot with a Black Pro-Mist 1 and a Soft/FX 1
filter to get more blooming from our



Table of Contents for the Digital Edition of American Cinematographer - November 2017

Contents
American Cinematographer - November 2017 - Cover1
American Cinematographer - November 2017 - Cover2
American Cinematographer - November 2017 - 1
American Cinematographer - November 2017 - 2
American Cinematographer - November 2017 - Contents
American Cinematographer - November 2017 - 4
American Cinematographer - November 2017 - 5
American Cinematographer - November 2017 - 6
American Cinematographer - November 2017 - 7
American Cinematographer - November 2017 - 8
American Cinematographer - November 2017 - 9
American Cinematographer - November 2017 - 10
American Cinematographer - November 2017 - 11
American Cinematographer - November 2017 - 12
American Cinematographer - November 2017 - 13
American Cinematographer - November 2017 - 14
American Cinematographer - November 2017 - 15
American Cinematographer - November 2017 - 16
American Cinematographer - November 2017 - 17
American Cinematographer - November 2017 - 18
American Cinematographer - November 2017 - 19
American Cinematographer - November 2017 - 20
American Cinematographer - November 2017 - 21
American Cinematographer - November 2017 - 22
American Cinematographer - November 2017 - 23
American Cinematographer - November 2017 - 24
American Cinematographer - November 2017 - 25
American Cinematographer - November 2017 - 26
American Cinematographer - November 2017 - 27
American Cinematographer - November 2017 - 28
American Cinematographer - November 2017 - 29
American Cinematographer - November 2017 - 30
American Cinematographer - November 2017 - 31
American Cinematographer - November 2017 - 32
American Cinematographer - November 2017 - 33
American Cinematographer - November 2017 - 34
American Cinematographer - November 2017 - 35
American Cinematographer - November 2017 - 36
American Cinematographer - November 2017 - 37
American Cinematographer - November 2017 - 38
American Cinematographer - November 2017 - 39
American Cinematographer - November 2017 - 40
American Cinematographer - November 2017 - 41
American Cinematographer - November 2017 - 42
American Cinematographer - November 2017 - 43
American Cinematographer - November 2017 - 44
American Cinematographer - November 2017 - 45
American Cinematographer - November 2017 - 46
American Cinematographer - November 2017 - 47
American Cinematographer - November 2017 - 48
American Cinematographer - November 2017 - 48a
American Cinematographer - November 2017 - 48b
American Cinematographer - November 2017 - 49
American Cinematographer - November 2017 - 50
American Cinematographer - November 2017 - 51
American Cinematographer - November 2017 - 52
American Cinematographer - November 2017 - 53
American Cinematographer - November 2017 - 54
American Cinematographer - November 2017 - 55
American Cinematographer - November 2017 - 56
American Cinematographer - November 2017 - 57
American Cinematographer - November 2017 - 58
American Cinematographer - November 2017 - 59
American Cinematographer - November 2017 - 60
American Cinematographer - November 2017 - 61
American Cinematographer - November 2017 - 62
American Cinematographer - November 2017 - 63
American Cinematographer - November 2017 - 64
American Cinematographer - November 2017 - 65
American Cinematographer - November 2017 - 66
American Cinematographer - November 2017 - 67
American Cinematographer - November 2017 - 68
American Cinematographer - November 2017 - 69
American Cinematographer - November 2017 - 70
American Cinematographer - November 2017 - 71
American Cinematographer - November 2017 - 72
American Cinematographer - November 2017 - 73
American Cinematographer - November 2017 - 74
American Cinematographer - November 2017 - 75
American Cinematographer - November 2017 - 76
American Cinematographer - November 2017 - 77
American Cinematographer - November 2017 - 78
American Cinematographer - November 2017 - 79
American Cinematographer - November 2017 - 80
American Cinematographer - November 2017 - 81
American Cinematographer - November 2017 - 82
American Cinematographer - November 2017 - 83
American Cinematographer - November 2017 - 84
American Cinematographer - November 2017 - 85
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American Cinematographer - November 2017 - 87
American Cinematographer - November 2017 - 88
American Cinematographer - November 2017 - Cover3
American Cinematographer - November 2017 - Cover4
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