American Cinematographer - March 2011 - 44
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Weekly Wonders
The pilot was shot over 14 days in May 2010, which made creating Seattle’s winter weather a bit of a challenge. “We used a lot of 20-by-20 or 40-by-40 Quarter Grid ‘fly swatters’ to diffuse the sunlight and shade the main action, and then we’d bring in a large negative fill,” says Wunstorf. “I rarely use lights on exteriors; it’s usually negative fill and soft silver or Ultrabounce to shape the light. I try to use and supplement natural light as much as possible because the simpler we keep it, the faster we move. When we do use lights on exteriors, the winter light levels in Vancouver can be so low that I only need [Kino Flo] Image 80s to shape the light, or maybe a 6K HMI bounced through layers of diffusion. “On interiors such as the high school, we usually turn off most of the overhead lights and play or supplement the window light,” continues the cinematographer. “I always tell students, ‘When you walk into a room, start turning off lights and see how it looks. You can do a lot by taking away, and you can shape existing light without a lot of tools.’ In the school hallways, we’ll change out the fluorescents when we see daylight in the background, but otherwise, we leave them and correct in telecine. “Another simple and fast thing we’re doing is billowing 6-foot-wide sheets of trace paper under existing fluorescents, turning them into large, soft sources. We can then remove the fixture’s diffuser to change the intensity if we want to. Then, by turning off some of the background fixtures, we change a bright/harsh space into something softer and moodier. We also did this in a supermarket. “We’re also tailor-making soft sources by taping a Kino tube to a wall or corner and bowing trace around it. It’s soft, fast and cheap, and the light falls off quickly. Harris Savides said, ‘You can light a movie with very few lights,’ and I’m taking this to heart!” Wunstorf likes to make frequent use of ND grads, even stacking them to shape the image. “The camerawork on this show is fairly static,” he notes.
Top: The victim’s parents (Brent Sexton and Michelle Forbes) embrace at the county morgue as detectives Linden and Holder (Joel Kinnaman) wait for them to identify the body. Bottom: Kris (Gharrett Paon), one of the victim’s schoolmates, vents in the police interrogation room.
the car scene in the pilot that we were shooting at dusk. We pulled the 85, pushed the stock and shot for 20 minutes. I was worried about how everyone would react to the dailies, but it turned out to be one of Veena’s favorite scenes, as well as mine.” Wunstorf notes that his initial phone interview with Sud and Jenkins was inspiring and informative. “I love it when writers inspire you with words. In my first meeting with Veena, she used the term ‘sad elegance,’ and I immediately thought of two films, Birth [shot by Harris Savides, ASC] and Jennifer Eight [shot by Conrad L. Hall, ASC], the former for the mood and the latter for the content. It turned out she and Patty and been referencing those two films! Veena also said she wanted this to
44 March 2011
be ‘the Unforgiven of cop shows.’ ‘Simplicity’ and ‘loneliness’ were key words. That gave me a lot to work with in conceptualizing the look. “I’m trying to do things very simply, which helps create the appropriate look and also works logistically, because lighting simply definitely lends itself to the pace of a series. I’m not one to have lights coming from four different directions, anyway. When you look at work by Harris Savides, Roger Deakins [ASC, BSC] or Gordon Willis [ASC], you see it’s all beautifully simple.” Though The Killing is set in Seattle, it’s shot in Vancouver, and the production thoroughly scouted key locations in Seattle, including City Hall, to make its sets look authentic.
American Cinematographer
American Cinematographer - March 2011
Table of Contents for the Digital Edition of American Cinematographer - March 2011
American Cinematographer - March 2011
Contents
Editor’s Note
President’s Desk
Short Takes: Nowhere Near Here
Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
Master Plans
Weekly Wonders
Lessons Well Learned
Photographing Movie History
Filmmakers’ Forum: Lisa Wiegand
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gene Polito, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - American Cinematographer - March 2011
American Cinematographer - March 2011 - Cover2
American Cinematographer - March 2011 - 1
American Cinematographer - March 2011 - 2
American Cinematographer - March 2011 - Contents
American Cinematographer - March 2011 - 4
American Cinematographer - March 2011 - 5
American Cinematographer - March 2011 - 6
American Cinematographer - March 2011 - 7
American Cinematographer - March 2011 - Editor’s Note
American Cinematographer - March 2011 - 9
American Cinematographer - March 2011 - President’s Desk
American Cinematographer - March 2011 - 11
American Cinematographer - March 2011 - Short Takes: Nowhere Near Here
American Cinematographer - March 2011 - 13
American Cinematographer - March 2011 - 14
American Cinematographer - March 2011 - 15
American Cinematographer - March 2011 - Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
American Cinematographer - March 2011 - 17
American Cinematographer - March 2011 - 18
American Cinematographer - March 2011 - 19
American Cinematographer - March 2011 - 20
American Cinematographer - March 2011 - 21
American Cinematographer - March 2011 - 22
American Cinematographer - March 2011 - 23
American Cinematographer - March 2011 - 24
American Cinematographer - March 2011 - 25
American Cinematographer - March 2011 - Master Plans
American Cinematographer - March 2011 - 27
American Cinematographer - March 2011 - 28
American Cinematographer - March 2011 - 29
American Cinematographer - March 2011 - 30
American Cinematographer - March 2011 - 31
American Cinematographer - March 2011 - 32
American Cinematographer - March 2011 - 33
American Cinematographer - March 2011 - 34
American Cinematographer - March 2011 - 35
American Cinematographer - March 2011 - 36
American Cinematographer - March 2011 - 37
American Cinematographer - March 2011 - Weekly Wonders
American Cinematographer - March 2011 - 39
American Cinematographer - March 2011 - 40
American Cinematographer - March 2011 - 41
American Cinematographer - March 2011 - 42
American Cinematographer - March 2011 - 43
American Cinematographer - March 2011 - 44
American Cinematographer - March 2011 - 45
American Cinematographer - March 2011 - 46
American Cinematographer - March 2011 - 47
American Cinematographer - March 2011 - 48
American Cinematographer - March 2011 - 49
American Cinematographer - March 2011 - Lessons Well Learned
American Cinematographer - March 2011 - 51
American Cinematographer - March 2011 - 52
American Cinematographer - March 2011 - 53
American Cinematographer - March 2011 - 54
American Cinematographer - March 2011 - 55
American Cinematographer - March 2011 - 56
American Cinematographer - March 2011 - 57
American Cinematographer - March 2011 - Photographing Movie History
American Cinematographer - March 2011 - 59
American Cinematographer - March 2011 - 60
American Cinematographer - March 2011 - 61
American Cinematographer - March 2011 - 62
American Cinematographer - March 2011 - 63
American Cinematographer - March 2011 - 64
American Cinematographer - March 2011 - 65
American Cinematographer - March 2011 - Filmmakers’ Forum: Lisa Wiegand
American Cinematographer - March 2011 - 67
American Cinematographer - March 2011 - New Products & Services
American Cinematographer - March 2011 - 69
American Cinematographer - March 2011 - 70
American Cinematographer - March 2011 - 71
American Cinematographer - March 2011 - 72
American Cinematographer - March 2011 - 73
American Cinematographer - March 2011 - International Marketplace
American Cinematographer - March 2011 - Classified Ads
American Cinematographer - March 2011 - Ad Index
American Cinematographer - March 2011 - 77
American Cinematographer - March 2011 - In Memoriam: Gene Polito, ASC
American Cinematographer - March 2011 - 79
American Cinematographer - March 2011 - ASC Membership Roster
American Cinematographer - March 2011 - 81
American Cinematographer - March 2011 - Clubhouse News
American Cinematographer - March 2011 - 83
American Cinematographer - March 2011 - ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - Cover3
American Cinematographer - March 2011 - Cover4
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