American Cinematographer - March 2013 - 24
Top: Shortland
(third from right,
wearing blue
shirt), Arkapaw
(center, wearing
dark beret) and
their
collaborators
prepare to film
the children
bedding down
for the night.
Bottom:
Arkapaw and 1st
AC Luke Thomas
capture a close
shot of Malina.
intriguing about it, but it’s also unsettling.
We wanted to ease the audience into the
nightmare they are about to undergo.”
The 81EF stayed on the lens for the
next scene, which starts on a wide shot of
the foyer as Lore runs to her father. The
frame rate is back to normal, and the mixed
lighting combines simulated sunlight flooding through giant windows and warm light
from interior fixtures. Although the scene
was shot during the day, Arkapaw decided
to tent the windows with Duvatyn and
create daylight with three 4K Pars bounced
into bead board. “We did that so we could
shoot day and night scenes in quick succes24
March 2013
sion,” says Arkapaw, citing the tight shooting schedule.
That night, Lore’s father builds a
bonfire to burn evidence of the family’s Nazi
allegiance. To create the illusion of bright
embers dancing skyward, Arkapaw
bounced two 12-globe Dinos off 4'x4' silver
reflectors. 4"-wide-by-4'-long strips of red
and yellow gel were mounted on a 4'x4'
knife frame to enhance the fire effect.
The next shot reveals Lore in the
center of the living room, confused and
frightened by her father’s actions. The room
is keyed by the bonfire. “When I read the
script, one of the key images in my head
American Cinematographer
was Lore frozen in the room with only the
firelight from her family’s burning sins playing across her face,” says Arkapaw. For this
part of the scene, the reflectors used with
the Dinos were “mounted low on Turtles to
give the impression that the fire was below
and away from the house,” says Adcock.
“We played the effect through a dimmercontrol desk.”
Almost all of Lore was shot handheld, “which allowed the children to create
their own reality and allowed me to be in
the right place to find it, even if it was a
different place every time,” reports Arkapaw. The use of a B camera was especially
important for scenes that required the children to be emotional. Night scenes in the
forest were shot day-for-night because of
the limited number of hours the young
actors could work.
The 40-day shoot moved across
Germany from Gorelitz to the Black Forest,
along the east coast, and then north to the
grandmother’s house. Arkapaw brought his
key crewmembers from Australia and hired
the rest in Germany, and he and Adcock
have high praise for their German
colleagues.
Speaking of his Australian team,
Arkapaw notes, “Luke is my favorite first
AC; he is extremely easygoing and a very
talented operator. Loader Melina Behle was
American Cinematographer - March 2013
Table of Contents for the Digital Edition of American Cinematographer - March 2013
American Cinematographer - March 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Die Antwoord’s “I Fink U Freeky”
Production Slate: Lore
Trials by Fire
Strong Foundations
Tech Savvy
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - American Cinematographer - March 2013
American Cinematographer - March 2013 - Cover2
American Cinematographer - March 2013 - 1
American Cinematographer - March 2013 - 2
American Cinematographer - March 2013 - Contents
American Cinematographer - March 2013 - 4
American Cinematographer - March 2013 - 5
American Cinematographer - March 2013 - 6
American Cinematographer - March 2013 - 7
American Cinematographer - March 2013 - 8
American Cinematographer - March 2013 - 9
American Cinematographer - March 2013 - Editor’s Note
American Cinematographer - March 2013 - 11
American Cinematographer - March 2013 - President’s Desk
American Cinematographer - March 2013 - 13
American Cinematographer - March 2013 - Short Takes: Die Antwoord’s “I Fink U Freeky”
American Cinematographer - March 2013 - 15
American Cinematographer - March 2013 - 16
American Cinematographer - March 2013 - 17
American Cinematographer - March 2013 - 18
American Cinematographer - March 2013 - 19
American Cinematographer - March 2013 - Production Slate: Lore
American Cinematographer - March 2013 - 21
American Cinematographer - March 2013 - 22
American Cinematographer - March 2013 - 23
American Cinematographer - March 2013 - 24
American Cinematographer - March 2013 - 25
American Cinematographer - March 2013 - 26
American Cinematographer - March 2013 - 27
American Cinematographer - March 2013 - Trials by Fire
American Cinematographer - March 2013 - 29
American Cinematographer - March 2013 - 30
American Cinematographer - March 2013 - 31
American Cinematographer - March 2013 - 32
American Cinematographer - March 2013 - 33
American Cinematographer - March 2013 - 34
American Cinematographer - March 2013 - 35
American Cinematographer - March 2013 - 36
American Cinematographer - March 2013 - 37
American Cinematographer - March 2013 - 38
American Cinematographer - March 2013 - 39
American Cinematographer - March 2013 - Strong Foundations
American Cinematographer - March 2013 - 41
American Cinematographer - March 2013 - 42
American Cinematographer - March 2013 - 43
American Cinematographer - March 2013 - 44
American Cinematographer - March 2013 - 45
American Cinematographer - March 2013 - 46
American Cinematographer - March 2013 - 47
American Cinematographer - March 2013 - 48
American Cinematographer - March 2013 - 49
American Cinematographer - March 2013 - Tech Savvy
American Cinematographer - March 2013 - 51
American Cinematographer - March 2013 - 52
American Cinematographer - March 2013 - 53
American Cinematographer - March 2013 - 54
American Cinematographer - March 2013 - 55
American Cinematographer - March 2013 - New Products & Services
American Cinematographer - March 2013 - 57
American Cinematographer - March 2013 - 58
American Cinematographer - March 2013 - 59
American Cinematographer - March 2013 - 60
American Cinematographer - March 2013 - 61
American Cinematographer - March 2013 - 62
American Cinematographer - March 2013 - 63
American Cinematographer - March 2013 - 64
American Cinematographer - March 2013 - Classified Ads
American Cinematographer - March 2013 - Ad Index
American Cinematographer - March 2013 - 67
American Cinematographer - March 2013 - 68
American Cinematographer - March 2013 - In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
American Cinematographer - March 2013 - 70
American Cinematographer - March 2013 - 71
American Cinematographer - March 2013 - ASC Membership Roster
American Cinematographer - March 2013 - 73
American Cinematographer - March 2013 - Clubhouse News
American Cinematographer - March 2013 - 75
American Cinematographer - March 2013 - ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - Cover3
American Cinematographer - March 2013 - Cover4
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