American Cinematographer - December 2015 - 24

Top:
Cinematographer
Christian Berger,
AAC, BVK's crew
constructed a
lighting truss
over the seaside
hotel where the
film's characters
vacation. Bottom:
The truss
accommodated
Berger's Cine
Reflect Lighting
System, which
includes 1.2K
parallel-beam
HMIs that can be
projected into
custom, precisely
engineered
reflectors.

director Michael Haneke's The Piano
Teacher (AC May '02), refined it in their
follow-up collaboration Caché (AC Jan. '06),
then continued its evolution while filming
Haneke's The White Ribbon (AC Jan '10), for
which Berger won an ASC Outstanding
Achievement Award and earned an Academy Award nomination, among other
honors.
The CRLS system comprises an
economical number of lamps - 1.2K HMI
CRLS parallel beams and CRLS-adapted
Dedolights - and a multitude of customdesigned, high-tech reflectors of various
24

December 2015

sizes and shapes, with textured and colored
surfaces. These reflectors are engineered for
precise light modulation and distribution,
enabling predictable and accurate results.
The CRLS lamps rarely illuminate the
subject directly. Instead, aimed at the reflectors, the beams are softened, shaped and
redirected exactly where intended, reducing
cumbersome spill light. Often, multiple
reflectors are dipped into a single beam,
producing a variety of effects. This also
allows for the creation of a key, backlight
and fill light from a single source, dispensing
the need for flags, cutters, scrims and gels.
American Cinematographer

With the high-efficiency system, a beam can
travel greater distances - from lamp to
reflector to subject - and keeping lamps
and the associated cabling and hardware
away from the set results in a cooler, less
cluttered work environment for cast and
crew.
"It's rare we are able to light from any
great distance, due to stage or location
constraints," Berger says. "But if I have 10
meters from my lamp to a CRLS reflector,
and then the light travels another 10 meters
to the subject, I effectively have 20 meters,
which improves the aesthetic of my light.
"This creates an organic decline of
light intensity inside a room," the cinematographer continues. "Thus the actor can
approach the window [without becoming]
overexposed. The quality of the shadows
and the shadow zones are correct; the
involvement of all the materials in the room
adds up. When one understands and
respects the natural ways of light, it can be
used to wonderful effects to create incredibly rich atmospheres. Light can flow and
work unimpeded." (More information
about the CRLS can be found at
www.thelightbridge.com.)
After a week of blocking in Los
Angeles, the By the Sea production relocated in September of 2014 to the secluded
Mgarr Ix-Xini on the Maltese island of Gozo.



http://www.thelightbridge.com

Table of Contents for the Digital Edition of American Cinematographer - December 2015

Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
American Cinematographer - December 2015 - 5
American Cinematographer - December 2015 - 6
American Cinematographer - December 2015 - 7
American Cinematographer - December 2015 - 8
American Cinematographer - December 2015 - 9
American Cinematographer - December 2015 - 10
American Cinematographer - December 2015 - 11
American Cinematographer - December 2015 - 12
American Cinematographer - December 2015 - 13
American Cinematographer - December 2015 - 14
American Cinematographer - December 2015 - 15
American Cinematographer - December 2015 - 16
American Cinematographer - December 2015 - 17
American Cinematographer - December 2015 - 18
American Cinematographer - December 2015 - 19
American Cinematographer - December 2015 - 20
American Cinematographer - December 2015 - 21
American Cinematographer - December 2015 - 22
American Cinematographer - December 2015 - 23
American Cinematographer - December 2015 - 24
American Cinematographer - December 2015 - 25
American Cinematographer - December 2015 - 26
American Cinematographer - December 2015 - 27
American Cinematographer - December 2015 - 28
American Cinematographer - December 2015 - 29
American Cinematographer - December 2015 - 30
American Cinematographer - December 2015 - 31
American Cinematographer - December 2015 - 32
American Cinematographer - December 2015 - 33
American Cinematographer - December 2015 - 34
American Cinematographer - December 2015 - 35
American Cinematographer - December 2015 - 36
American Cinematographer - December 2015 - 37
American Cinematographer - December 2015 - 38
American Cinematographer - December 2015 - 39
American Cinematographer - December 2015 - 40
American Cinematographer - December 2015 - 41
American Cinematographer - December 2015 - 42
American Cinematographer - December 2015 - 43
American Cinematographer - December 2015 - 44
American Cinematographer - December 2015 - 45
American Cinematographer - December 2015 - 46
American Cinematographer - December 2015 - 47
American Cinematographer - December 2015 - 48
American Cinematographer - December 2015 - 49
American Cinematographer - December 2015 - 50
American Cinematographer - December 2015 - 51
American Cinematographer - December 2015 - 52
American Cinematographer - December 2015 - 53
American Cinematographer - December 2015 - 54
American Cinematographer - December 2015 - 55
American Cinematographer - December 2015 - 56
American Cinematographer - December 2015 - 57
American Cinematographer - December 2015 - 58
American Cinematographer - December 2015 - 59
American Cinematographer - December 2015 - 60
American Cinematographer - December 2015 - 61
American Cinematographer - December 2015 - 62
American Cinematographer - December 2015 - 63
American Cinematographer - December 2015 - 64
American Cinematographer - December 2015 - 65
American Cinematographer - December 2015 - 66
American Cinematographer - December 2015 - 67
American Cinematographer - December 2015 - 68
American Cinematographer - December 2015 - 69
American Cinematographer - December 2015 - 70
American Cinematographer - December 2015 - 71
American Cinematographer - December 2015 - 72
American Cinematographer - December 2015 - 73
American Cinematographer - December 2015 - 74
American Cinematographer - December 2015 - 75
American Cinematographer - December 2015 - 76
American Cinematographer - December 2015 - 77
American Cinematographer - December 2015 - 78
American Cinematographer - December 2015 - 79
American Cinematographer - December 2015 - 80
American Cinematographer - December 2015 - 81
American Cinematographer - December 2015 - 82
American Cinematographer - December 2015 - 83
American Cinematographer - December 2015 - 84
American Cinematographer - December 2015 - 85
American Cinematographer - December 2015 - 86
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American Cinematographer - December 2015 - 88
American Cinematographer - December 2015 - 89
American Cinematographer - December 2015 - 90
American Cinematographer - December 2015 - 91
American Cinematographer - December 2015 - 92
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American Cinematographer - December 2015 - 94
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American Cinematographer - December 2015 - 108
American Cinematographer - December 2015 - 109
American Cinematographer - December 2015 - 110
American Cinematographer - December 2015 - 111
American Cinematographer - December 2015 - 112
American Cinematographer - December 2015 - Cover3
American Cinematographer - December 2015 - Cover4
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