American Cinematographer - January 2016 - 30

Right: Best boy
Szabolcs Galgóczi
(far left),
cinematographer
Mátyás Erdély
(wearing hoodie)
and camera grip
László Egyedi (far
right) move with
Röhrig as he carries
a body through the
death-camp set.
Below (from left):
First AC Gergely
Csepregi, Egyedi,
Erdély and boom
operator Sámuel
Csóka on the move
during the
physically taxing,
single-camera
project.

mation that is kept from the audience. If
you show a dead body, how much of it is
hinted at and how much is actually
[seen]? We wanted a very precise recording of reality, and Zeiss makes the most
precise lenses out there: super-sharp, very
clean and no artifice. I opted for
[Arri/Zeiss] Master Primes, which I
consider the most pristine."
The same reasoning lay behind the
choice of focal length. "Approximately 85
percent of the film was shot on a 40mm
and the rest was on a 35mm," Erdély
says. "We wanted a focal length that
would translate reality onto film in the
most precise way - one that didn't
30

January 2016

distort or magnify, and was neither too
wide nor too long. I believe the 40mm is
the closest to how we see the world."
For his film stock, Erdély explains, "I
shot everything on Kodak Vision3 500T
5219. I wanted the levels of grain and
contrast to be consistent throughout the
film." He rated the stock at 320 ASA
during the day and pushed it one stop for
night exteriors. A Tiffen Ultra Contrast 2
was always on the lens, and ND filters
were used to keep the T-stop consistent.
The camera was constantly on the
move, and scenes play out in extended,
continuous takes - often two to three
minutes long. "Because we didn't have
American Cinematographer

coverage, we were editing in-camera,"
says Nemes, who sat down with AC in
September, during a brief stop in Los
Angeles. Noting that editor Matthieu
Taponier was on set every day, Erdély adds,
"The three of us were constantly
discussing the pacing of the scenes,
because once we shot it, we couldn't
change it."
The concentration-camp scenes
were staged in an abandoned military
barracks in Hungary, with sets built into
the practical structure. Three of the building's four levels were used. "The gas
chamber and undressing area had to be
rooms without shadows, suggesting there
is nowhere to hide," says Erdély of the
ground-floor set. Working with gaffer
József Simon, he adds, "we used bare,
500-watt tungsten bulbs in the ceiling.
The bulbs had to be hidden, so production
designer László Rajk designed fake ceiling
beams."
The doctor's office on the second
level had table lamps and surgical lights,
while the crematorium area - located on
the same floor - was darker and moodier, lit by wall practicals and flames leaping
from the ovens. One oven contained a real
fire, while the other two had Blondes on
custom-made flicker boxes, bounced into
"small poly boards," Erdély says, "and a
metallic bounce material used in construction for insulating chimneys. Both ovens



American Cinematographer - January 2016

Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
American Cinematographer - January 2016 - 10
American Cinematographer - January 2016 - 11
American Cinematographer - January 2016 - 12
American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
American Cinematographer - January 2016 - 16
American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
American Cinematographer - January 2016 - 23
American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
American Cinematographer - January 2016 - 26
American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
American Cinematographer - January 2016 - 32
American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
American Cinematographer - January 2016 - 59
American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
American Cinematographer - January 2016 - 68
American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
American Cinematographer - January 2016 - 71
American Cinematographer - January 2016 - 72
American Cinematographer - January 2016 - 73
American Cinematographer - January 2016 - 74
American Cinematographer - January 2016 - 75
American Cinematographer - January 2016 - 76
American Cinematographer - January 2016 - 77
American Cinematographer - January 2016 - 78
American Cinematographer - January 2016 - 79
American Cinematographer - January 2016 - 80
American Cinematographer - January 2016 - 81
American Cinematographer - January 2016 - 82
American Cinematographer - January 2016 - 83
American Cinematographer - January 2016 - 84
American Cinematographer - January 2016 - 85
American Cinematographer - January 2016 - 86
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American Cinematographer - January 2016 - 100
American Cinematographer - January 2016 - 101
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American Cinematographer - January 2016 - 114
American Cinematographer - January 2016 - 115
American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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