American Cinematographer - December 2015 - 60

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A Mid-Century Affair

Lachman worked with China balls (top), bounced light (middle) and practicals (bottom) for
Carol and Therese's encounter in a high-end hotel's restaurant.

60

December 2015

American Cinematographer

first, the director, producers or AD think
you're ready to shoot when you might
need another hour to work."
Day exteriors were generally
filmed without the assistance of artificial
light; instead, a 12'x12' or 8'x8'
Ultrabounce or muslin was used to
balance the exposure. For the interiors,
special care had to be taken to preserve
the privately owned and often historical
locations, so Lachman employed light
sources such as 30" 2K China balls and
covered wagons with 150-watt and 250watt incandescent bulbs diffused with
muslin or 1000H vellum. "They make
beautiful light for women's faces,"
Lachman notes. The lights were either
hung from rigging overhead or hidden
on the floor out of frame.
When possible, the cinematographer keyed the actors from the side or
slightly behind so that their faces fell into
shadow on the camera side, and he
always placed the lights in such a way as
to accentuate whatever practical sources
were found in the scene. "I wanted it to
feel like the characters were source-lit by
the space, like the light was coming from
a small table lamp or a large window,
where I would place a light outside
through diffusion and ¼ CTB to create a
wintry feel," he says.
In larger interior locations, such as
hotels or Therese's department store, key
grip James McMillan's crew was able to
rig a lighting grid using tensioners or
hidden legs for the lightweight China
balls. When a light couldn't be hung or
hidden, 750-watt Source Fours and 2K
Blondes were bounced off ceilings and
walls; the grip department then shaped
the bounced light with flags and a thin,
black "plastic picnic-table cloth,"
McMillan details. "It weighs nothing,
and because it's so thin it doesn't
completely block out all the light, which
softens the falloff at the edges of your
teaser and gives you a nice, smooth grade
on the walls."
The rest of the lighting package
consisted of tungsten Nine-lights, 5Ks
and 2Ks, and daylight-balanced 12K and
18K HMIs. Lachman also made use of
5K and 12K tungsten Pars, which feature



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
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American Cinematographer - December 2015 - 18
American Cinematographer - December 2015 - 19
American Cinematographer - December 2015 - 20
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American Cinematographer - December 2015 - 38
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American Cinematographer - December 2015 - 40
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American Cinematographer - December 2015 - 60
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American Cinematographer - December 2015 - 112
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