American Cinematographer - January 2019 - 82
Opposites Attract
pp: Wiktor waits for Zula.
p: A day exterior with Kulig is captured with a handheld Arri Alexa XT.
82
depth of field reminiscent of old cinema.
In Paris we wanted shallower focus, and
generally stayed at or around f/2, or at
f/2.8 [on the] zooms. Ultra Primes work
exceptionally nicely when wide open."
In terms of lighting, Zal notes,
"We were trying to achieve high
contrast, but with soft light. I like mixing
HMIs and tungsten, not because of the
needs of the film, but because tungsten
lights are easier to dim than HMIs." He
adds that at night, they would hide
January 2019
small LEDs on walls and under tables.
Egg crate, butterflies and flags
were ubiquitous throughout the
production. "In Poland, even for exteriors, we used 4-by-4-meter and 6-by-6meter butterflies," the cinematographer
reports. "Black butterflies for negative
fill and white butterflies when we used
9Ks and occasionally Arrimaxes.
"We used a lot of diffusion on
Cold War," Zal continues. "We were
always lighting through butterflies with
ASC 100th Anniversary
Full, Half or Quarter Grid fabric, or artificial silk. We used a lot of depron as
well, not just as diffusion but also for
bouncing." Other diffusion filters
included White, Brushed Silk and
Hollywood Frost, as well as Quarter and
Light Grid Cloth.
In
Paris,
the
production
employed practical "in-frame existing
streetlights, and added movie lights offscreen," Zal says. "We often used cherry
pickers for night shots - fitted with 9Ks
[diffused through] 4-by-4-meter butterflies - as backlight." The filmmakers
also employed a smaller cherry picker,
whose base was placed behind the
camera, and whose arm - which was
fitted with a lamp - extended to reach
behind the actors in order to achieve
"kicker or backlight, just on characters
when they were close to camera," the
cinematographer notes.
The production's lighting package, sourced from Krakow-based rental
house Gaffers, included Arri SkyPanels;
Aladdin LED panels; LiteGear LiteMats;
Kino Flo units; PAR 64s; Arri M-Series
9K, 4K and 1.8K units; Dedolight's
Octodome; and 2K, 1K and 650-watt
Fresnels.
The cinematographer notes that
his overall preference for multiple
sources extended to his lighting of
actors. "I like to wrap light around
them," he says.
The majority of Cold War was
captured using a single camera, with
Ernest Wilczynski and Jaroslaw
Wierzbicki serving as operators - the
latter of whom was called into service
for Steadicam work. Only the Mazurek
Ensemble performances required two
cameras. "Although we had a lot of
wide shots and exteriors, most of the
film consists of two-shots of Wiktor and
Zula," Zal reports.
Aside from Steadicam, handheld
and a small amount of crane work, the
Alexa XT generally stayed on a dolly,
even for static shots. "We were adjusting
all the time - higher, lower, boom up,
boom down - constantly looking for
the best angle," Zal says. The camera
was mounted to an OConnor head for
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
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