American Cinematographer - January 2017 - 34

Right: Rana feels
unsettled in her
new surroundings.
Below: Jafarian
measures the light.

"For the closing act of the film,
which takes place in the abandoned apartment, I used the low-energy lightbulbs that
you can find at the store," Jafarian notes.
Using wooden planks, he built simple boxes
in varying sizes, attaching them to the ceilings and sometimes skinning them with one
or two layers of diffusion. Inside the boxes,
the cinematographer says, were "10 of
these lights, which could be turned on and
off individually and in any configuration, so
you could control the feel. Sometimes we'd
see a practical inside the frame when we
were in the kitchen, and I'd mimic that. I
tried to make it feel that there was no additional lighting to achieve that realistic look,
which I thought would serve the story
better."
Conversely, scenes in the theater
were lit using conventional theatrical lighting. "Whereas in other scenes everything is
realistic and you don't feel that there's lighting involved, in the theater scenes I intentionally exaggerated the lighting and
worked with the colors to emphasize the
theater aspect," Jafarian explains. In particular, he worked with red and blue because "I
thought they were very American colors,"
he says. "It's an Arthur Miller play!"
The Salesman was shot on Arri's
Alexa XT Plus at 3.2K resolution. For Jafar34

January 2017

American Cinematographer



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

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
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American Cinematographer - January 2017 - 38
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American Cinematographer - January 2017 - 45
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American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
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American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
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