American Cinematographer - January 2019 - 81
Kaczmarek (Borys Szyc), Wiktor and Irena relish the troupe's success.
that offered some contrast and separation."
Shot chronologically, the picture
opens in 1949 in a poor rural village in
Poland. A fiddler and a piper, their faces
eerily expressionless, play in front of a
small crowd. The scene has a rustic,
grainy, documentary look and feel, with
almost no contrast - just shades of
gray. "That was our first day of production," the cinematographer recalls.
"Pawel found the two performers at a
folk festival." The next several shots
retain the documentary feel, but are
more tableau-like - single, static
frames in which people sing or dance
for Wiktor and Irena. The grays are
slightly more tonal, but the feature's
visual style really only starts to change
at Mazurek headquarters, where additional auditions - including Zula's -
are held.
"Zula is [really] the trigger for the
camera - the force that makes the
camera move," Zal explains. "Once she
appears, and especially once her
romance with Wiktor begins, the story
takes on a more narrative quality and
the visual contrast increases. We used
either a 1 ⁄ 2 or a 1 Black Satin [lens filter]
on Joanna, mainly for her close-ups."
Poland is where Zula is happiest,
and the scenes there are shot with deep
focus and on wider lenses - specifically
the 28mm, 32mm and 40mm focal
lengths. The style shifts in Paris, where
Wiktor is happy but Zula is not. Longer
lenses - 50mm and 65mm - and shallower depth of field suggest discord in
their relationship and Zula's sense of
alienation.
"We were using f/4 to f/5.6, and
even f/5.61 ⁄ 2 , for both day interiors and
exteriors in Poland," Zal says. "It's a
Like Ida, Cold War was shot in color and desaturated to black-and-white
in post. Also as with Ida, the lighting, production design, costumes and
background were designed for monochrome. Video village monitored the
shoot in black-and-white. "I couldn't think of a color that would make sense,"
Pawlikowski says of the feature's black-and-white imperative. "There was no
color in Poland in the 1940s and Fifties. It was all gray, brown and greenish. We
played with the notion of shooting the picture [in a way that would approximate] the East German/Soviet stock Orwo, with its washed-out greens and
reds, but I felt it would seem too mannered."
http://maccam.tv
American Cinematographer - January 2019
Table of Contents for the Digital Edition of American Cinematographer - January 2019
Contents
American Cinematographer - January 2019 - Cover1
American Cinematographer - January 2019 - Cover2
American Cinematographer - January 2019 - 1
American Cinematographer - January 2019 - 2
American Cinematographer - January 2019 - Contents
American Cinematographer - January 2019 - 4
American Cinematographer - January 2019 - 5
American Cinematographer - January 2019 - 6
American Cinematographer - January 2019 - 7
American Cinematographer - January 2019 - 8
American Cinematographer - January 2019 - 9
American Cinematographer - January 2019 - 10
American Cinematographer - January 2019 - 11
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American Cinematographer - January 2019 - 14
American Cinematographer - January 2019 - 15
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American Cinematographer - January 2019 - 17
American Cinematographer - January 2019 - 18
American Cinematographer - January 2019 - 19
American Cinematographer - January 2019 - 20
American Cinematographer - January 2019 - 21
American Cinematographer - January 2019 - 22
American Cinematographer - January 2019 - 23
American Cinematographer - January 2019 - 24
American Cinematographer - January 2019 - 25
American Cinematographer - January 2019 - 26
American Cinematographer - January 2019 - 27
American Cinematographer - January 2019 - 28
American Cinematographer - January 2019 - 29
American Cinematographer - January 2019 - 30
American Cinematographer - January 2019 - 31
American Cinematographer - January 2019 - 32
American Cinematographer - January 2019 - 33
American Cinematographer - January 2019 - 34
American Cinematographer - January 2019 - 35
American Cinematographer - January 2019 - 36
American Cinematographer - January 2019 - 37
American Cinematographer - January 2019 - 38
American Cinematographer - January 2019 - 39
American Cinematographer - January 2019 - 40
American Cinematographer - January 2019 - 41
American Cinematographer - January 2019 - 42
American Cinematographer - January 2019 - 43
American Cinematographer - January 2019 - 44
American Cinematographer - January 2019 - 45
American Cinematographer - January 2019 - 46
American Cinematographer - January 2019 - 47
American Cinematographer - January 2019 - 48
American Cinematographer - January 2019 - 49
American Cinematographer - January 2019 - 50
American Cinematographer - January 2019 - 51
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American Cinematographer - January 2019 - 53
American Cinematographer - January 2019 - 54
American Cinematographer - January 2019 - 55
American Cinematographer - January 2019 - 56
American Cinematographer - January 2019 - 57
American Cinematographer - January 2019 - 58
American Cinematographer - January 2019 - 59
American Cinematographer - January 2019 - 60
American Cinematographer - January 2019 - 61
American Cinematographer - January 2019 - 62
American Cinematographer - January 2019 - 63
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American Cinematographer - January 2019 - 71
American Cinematographer - January 2019 - A
American Cinematographer - January 2019 - B
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American Cinematographer - January 2019 - Cover3
American Cinematographer - January 2019 - Cover4
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