American Cinematographer - March 2016 - 51
eyes.' If you've got eye light, you can go
as dark as you want with the face and the
audience will still connect. You need that
life in the eyes.
"To get a decent eye light, the
source needs to be quite large," the
cinematographer continues. "If you put
a point source into the eye, it becomes a
pinprick. So what you want is usually a
decent-sized white card so that it's a
larger reflection in the eye. I'd typically
ND that card down to the point where
it wasn't supplying any illumination on
the face - only a reflection in the eye.
But with Stephan James, I didn't mind a
little extra fill on his skin, and we actually
used a 4-foot-by-4-foot piece of
plywood as his eye light and bounced fill
light. This gave me a little bounce-back
of beautiful, soft, warm light that was
perfect in his eye and on his skin, with
no need to color the light - we just used
the warm color of the wood as natural
bounce.
"I have to make special mention of
my Montreal gaffer, John Lewin," Levy
adds, "who was my tireless and skillful
collaborator and who, when the
production moved to Berlin, also took on
the role of key grip - because in
Germany they work the 'English' system,
whereby the grips are exclusively camera
grips. Likewise, my operators - Daniel
Sauvé on A camera and Steadicam, and
Robert Guertin on B camera -
contributed greatly with their skill and
imagination."
Levy likes to keep a tight control
over his image, and he carries a
FilmLight Truelight On-Set system
with him to grade each sequence before
the footage goes into the postproduction
workflow. "My technique is to time each
shot as it happens," he explains. "I have a
Truelight trackball panel on set with me,
and I'm creating a LUT on a shot-toshot basis, so when the dailies leave the
set, it looks like what I want it to look
like - of course with the proviso that
I'm not a colorist. But I'm sending the
colorist a refined example of my
intentions. Our fabulous DIT, Daniel
Lacasse, kept me honest.
"I find working with the trackball
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American Cinematographer - March 2016
Table of Contents for the Digital Edition of American Cinematographer - March 2016
Table of Contents
American Cinematographer - March 2016 - Intro
American Cinematographer - March 2016 - Cover1
American Cinematographer - March 2016 - Cover2
American Cinematographer - March 2016 - 1
American Cinematographer - March 2016 - 2
American Cinematographer - March 2016 - Table of Contents
American Cinematographer - March 2016 - 4
American Cinematographer - March 2016 - 5
American Cinematographer - March 2016 - 6
American Cinematographer - March 2016 - 7
American Cinematographer - March 2016 - 8
American Cinematographer - March 2016 - 9
American Cinematographer - March 2016 - 10
American Cinematographer - March 2016 - 11
American Cinematographer - March 2016 - 12
American Cinematographer - March 2016 - 13
American Cinematographer - March 2016 - 14
American Cinematographer - March 2016 - 15
American Cinematographer - March 2016 - 16
American Cinematographer - March 2016 - 17
American Cinematographer - March 2016 - 18
American Cinematographer - March 2016 - 19
American Cinematographer - March 2016 - 20
American Cinematographer - March 2016 - 21
American Cinematographer - March 2016 - 22
American Cinematographer - March 2016 - 23
American Cinematographer - March 2016 - 24
American Cinematographer - March 2016 - 25
American Cinematographer - March 2016 - 26
American Cinematographer - March 2016 - 27
American Cinematographer - March 2016 - 28
American Cinematographer - March 2016 - 29
American Cinematographer - March 2016 - 30
American Cinematographer - March 2016 - 31
American Cinematographer - March 2016 - 32
American Cinematographer - March 2016 - 33
American Cinematographer - March 2016 - 34
American Cinematographer - March 2016 - 35
American Cinematographer - March 2016 - 36
American Cinematographer - March 2016 - 37
American Cinematographer - March 2016 - 38
American Cinematographer - March 2016 - 39
American Cinematographer - March 2016 - 40
American Cinematographer - March 2016 - 41
American Cinematographer - March 2016 - 42
American Cinematographer - March 2016 - 43
American Cinematographer - March 2016 - 44
American Cinematographer - March 2016 - 45
American Cinematographer - March 2016 - 46
American Cinematographer - March 2016 - 47
American Cinematographer - March 2016 - 48
American Cinematographer - March 2016 - 49
American Cinematographer - March 2016 - 50
American Cinematographer - March 2016 - 51
American Cinematographer - March 2016 - 52
American Cinematographer - March 2016 - 53
American Cinematographer - March 2016 - 54
American Cinematographer - March 2016 - 55
American Cinematographer - March 2016 - 56
American Cinematographer - March 2016 - 57
American Cinematographer - March 2016 - 58
American Cinematographer - March 2016 - 59
American Cinematographer - March 2016 - 60
American Cinematographer - March 2016 - 61
American Cinematographer - March 2016 - 62
American Cinematographer - March 2016 - 63
American Cinematographer - March 2016 - 64
American Cinematographer - March 2016 - 65
American Cinematographer - March 2016 - 66
American Cinematographer - March 2016 - 67
American Cinematographer - March 2016 - 68
American Cinematographer - March 2016 - 69
American Cinematographer - March 2016 - 70
American Cinematographer - March 2016 - 71
American Cinematographer - March 2016 - 72
American Cinematographer - March 2016 - 73
American Cinematographer - March 2016 - 74
American Cinematographer - March 2016 - 75
American Cinematographer - March 2016 - 76
American Cinematographer - March 2016 - 77
American Cinematographer - March 2016 - 78
American Cinematographer - March 2016 - 79
American Cinematographer - March 2016 - 80
American Cinematographer - March 2016 - 81
American Cinematographer - March 2016 - 82
American Cinematographer - March 2016 - 83
American Cinematographer - March 2016 - 84
American Cinematographer - March 2016 - 85
American Cinematographer - March 2016 - 86
American Cinematographer - March 2016 - 87
American Cinematographer - March 2016 - 88
American Cinematographer - March 2016 - Cover3
American Cinematographer - March 2016 - Cover4
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