American Cinematographer - November 2017 - 44

◗

A New Testament

Libatique,
Aronofsky and
crew regard the
set from on
high. The
house's skylight
ambience was
created on
stage with
a 20'x20'
soft box.

boy. Against her will, the poet takes the
newborn and presents it to his followers
in a beatific tableau, surrounded by flickering candles and prayer cards bearing
an illustration of Him. Mother exits the
study just in time to see her helpless
child being passed through the crowd.
Starting with the first appearance

44

of Man, Libatique steadily introduced
more color into the lighting - particularly red - escalating its intensity in
time with the dramatic beats. He
accomplished this with SkyPanel S60s,
which he combined with white light to
control saturation. "Color can have
many meanings, but red makes such a

strong visual statement for the film's
emotional climax," he says, referring to
the scene in which Mother desperately
claws her way through the throng as
they tear her son to pieces. "By the time
you get to the dining room, with the
altar and the cult members eating the
'body of Christ,' it's more red than
anything you've seen in the movie so
far."
In a fit of righteous fury, Mother
annihilates the home, mankind and
herself in an apocalyptic fire. The poet
emerges from the ashes to rebuild his
world once again, and Aronofsky's
cosmogonic cycle begins anew.
The film's visual effects were split
between Industrial Light & Magic in
San Francisco and Mr. X in New York,
and supervised by Dan Schrecker, a
veteran of Black Swan and Noah (AC
April '14). Asked about his collaboration
with the visual-effects supervisor,
Libatique responds, "I just had to understand what he needed."



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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
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American Cinematographer - November 2017 - 63
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American Cinematographer - November 2017 - 88
American Cinematographer - November 2017 - Cover3
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