American Cinematographer - January 2020 - 73
The grip crew rigged two dozen 30" China balls
- each fitted with a 2K Mogul BWF bulb - off
of lightweight speed rail for a scene at the
Environmental Protection Agency.
emotions of the story. The overcast
mood of the daylight during the
winter reinforces the psychology of
isolation in the story.
"I used a warmer, tainted
yellowish hue, motivated by practicals inside the law firm, hospitals and
various people's homes, that would
offer a contrast to that overarching
coldness," he continues. "We [also]
Lachman, who operated on a few sequences, has high praise for the
show's entire crew - crediting Chris Haarhoff, as "an incredible Steadicam
operator who did wonderful work that didn't look like it was Steadicam";
Oliver Cary on B camera, "who's really a brilliant A operator and did me a
favor"; key grip Mitch Lillian, "whose reputation I've known of for many years,
and who can solve any problem"; dolly grip Brendan Lowry, "who always kept
me in good spirits"; and 1st AC Eric Swanek, "always my first choice on
features." Lachman also highlights the contributions of his longtime gaffer,
John DeBlau, whose creative approach to lighting and remarkable efficiency
have contributed to the cinematographer's work.
"I'd also like to mention the dedication and proficiency of my Cincinnati
crew," Lachman adds, "who I worked with on Carol as well, for always being
there for me and DeBlau - under the leadership of Russ Faust, a talented
gaffer himself."
www.ascmag.com
wanted to show that there was some
'invasion' between the exterior and
the interior." For example, he notes,
the yellow-greenish hue from the
practicals in the law offices "play
against the coolness coming from
outside the windows. Also, when Rob
visits his grandmother's house, there
are little candelabra lights over her
table that provide a sense of warmth
in the scene, which is surrounded by
fading winter light."
Independent of those psychological elements, Lachman explains,
"I always try to use contrasting colors
within the frame because I feel the
viewer's eye loses the ability to see
the subtlety of just one color."
The law offices, Haynes says,
are "such an amazing location. We
shot in both the real Taft law offices,
and also built our conference room
and Rob's office 10 floors above the
real Taft offices in the same building."
All of this, Haynes adds, played
perfectly into the kind of cinematic
storytelling that Pakula and Willis
achieved in those paranoid thrillers of
the '70s.
"The views that you saw out
the windows, with the Cincinnati
architecture, are partly blocked,
January 2020
73
http://www.ascmag.com
American Cinematographer - January 2020
Table of Contents for the Digital Edition of American Cinematographer - January 2020
Contents
American Cinematographer - January 2020 - Intro
American Cinematographer - January 2020 - Cover1
American Cinematographer - January 2020 - Cover2
American Cinematographer - January 2020 - 1
American Cinematographer - January 2020 - Contents
American Cinematographer - January 2020 - 3
American Cinematographer - January 2020 - 4
American Cinematographer - January 2020 - 5
American Cinematographer - January 2020 - 6
American Cinematographer - January 2020 - 7
American Cinematographer - January 2020 - 8
American Cinematographer - January 2020 - 9
American Cinematographer - January 2020 - 10
American Cinematographer - January 2020 - 11
American Cinematographer - January 2020 - 12
American Cinematographer - January 2020 - 13
American Cinematographer - January 2020 - 14
American Cinematographer - January 2020 - 15
American Cinematographer - January 2020 - 16
American Cinematographer - January 2020 - 17
American Cinematographer - January 2020 - 18
American Cinematographer - January 2020 - 19
American Cinematographer - January 2020 - 20
American Cinematographer - January 2020 - 21
American Cinematographer - January 2020 - 22
American Cinematographer - January 2020 - 23
American Cinematographer - January 2020 - 24
American Cinematographer - January 2020 - 25
American Cinematographer - January 2020 - 26
American Cinematographer - January 2020 - 27
American Cinematographer - January 2020 - 28
American Cinematographer - January 2020 - 29
American Cinematographer - January 2020 - 30
American Cinematographer - January 2020 - 31
American Cinematographer - January 2020 - 32
American Cinematographer - January 2020 - 33
American Cinematographer - January 2020 - 34
American Cinematographer - January 2020 - 35
American Cinematographer - January 2020 - 36
American Cinematographer - January 2020 - 37
American Cinematographer - January 2020 - 38
American Cinematographer - January 2020 - 39
American Cinematographer - January 2020 - 40
American Cinematographer - January 2020 - 41
American Cinematographer - January 2020 - 42
American Cinematographer - January 2020 - 43
American Cinematographer - January 2020 - 44
American Cinematographer - January 2020 - 45
American Cinematographer - January 2020 - 46
American Cinematographer - January 2020 - 47
American Cinematographer - January 2020 - 48
American Cinematographer - January 2020 - 49
American Cinematographer - January 2020 - 50
American Cinematographer - January 2020 - 51
American Cinematographer - January 2020 - 52
American Cinematographer - January 2020 - 53
American Cinematographer - January 2020 - 54
American Cinematographer - January 2020 - 55
American Cinematographer - January 2020 - 56
American Cinematographer - January 2020 - 57
American Cinematographer - January 2020 - 58
American Cinematographer - January 2020 - 59
American Cinematographer - January 2020 - 60
American Cinematographer - January 2020 - 61
American Cinematographer - January 2020 - 62
American Cinematographer - January 2020 - 63
American Cinematographer - January 2020 - 64
American Cinematographer - January 2020 - 65
American Cinematographer - January 2020 - 66
American Cinematographer - January 2020 - 67
American Cinematographer - January 2020 - 68
American Cinematographer - January 2020 - 69
American Cinematographer - January 2020 - 70
American Cinematographer - January 2020 - 70a
American Cinematographer - January 2020 - 70b
American Cinematographer - January 2020 - 71
American Cinematographer - January 2020 - 72
American Cinematographer - January 2020 - 73
American Cinematographer - January 2020 - 74
American Cinematographer - January 2020 - 75
American Cinematographer - January 2020 - 76
American Cinematographer - January 2020 - 77
American Cinematographer - January 2020 - 78
American Cinematographer - January 2020 - 79
American Cinematographer - January 2020 - 80
American Cinematographer - January 2020 - 81
American Cinematographer - January 2020 - 82
American Cinematographer - January 2020 - 83
American Cinematographer - January 2020 - 84
American Cinematographer - January 2020 - 85
American Cinematographer - January 2020 - 86
American Cinematographer - January 2020 - 87
American Cinematographer - January 2020 - 88
American Cinematographer - January 2020 - 89
American Cinematographer - January 2020 - 90
American Cinematographer - January 2020 - 91
American Cinematographer - January 2020 - 92
American Cinematographer - January 2020 - 93
American Cinematographer - January 2020 - 94
American Cinematographer - January 2020 - 95
American Cinematographer - January 2020 - 96
American Cinematographer - January 2020 - 97
American Cinematographer - January 2020 - 98
American Cinematographer - January 2020 - 99
American Cinematographer - January 2020 - 100
American Cinematographer - January 2020 - 101
American Cinematographer - January 2020 - 102
American Cinematographer - January 2020 - 103
American Cinematographer - January 2020 - 104
American Cinematographer - January 2020 - Cover3
American Cinematographer - January 2020 - Cover4
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