American Cinematographer - March 2021 - 60
BROKEN SOUL
Left: Sigel on set. Right: Cherry at war.
dial in how much IR and how much color we wanted in each individual
shot. It's quite a metaphor of their relationship. "
Another scene in this chapter starkly illustrates Cherry's disconnection from the world around him. Trying to resolve a problem with his
bank account, he speaks to a teller whose face is literally blacked out
- she appears silhouetted in the fully lit interior. In a later chapter, he
returns to the bank to commit his first robbery, and then we see the
woman's face. " It seems like a little thing, " Sigel says, " but it was actually
one of the most challenging aesthetically: How do you not light her and
then have her lit in a day interior in a bank? "
Adds Joe, " One of the biggest problems today is 'otherizing,' people's
tendency to not see the humanity in other people, and we thought it
would be compelling to institutionalize this teller until the moment
Cherry comes back to rob her, at which point she becomes human to
him. It took a bit of work to figure out how to execute that, and to Tom's
credit, most of it was done in camera; there was very little CG touchup
in post. "
Sigel lit the bank, a practical location, mostly from outside with 18Ks.
Overhead fluorescent practicals were turned off when they weren't in
frame, and the tubes in frame were wrapped in ND so they emitted
very little light, even though they appeared to be on. " Then we flagged
the teller very precisely so only her face was obscured, " Sigel says. " We
had a lamp for her that we cut off everywhere else in the set, and we
also flagged her ambient light while letting it hit the area immediately
around her. The light is off, but when Cherry comes back for the robbery,
we dim it up and expose her face. "
To emphasize the rigors of basic training shown in another chapter,
Sigel shot only with the 14mm Sigma and used static shots and grounded, linear camera moves; in addition, the 2.39:1 aspect ratio narrows to
1.50:1, and the warm colors of the preceding chapter drain away. " Cherry's decision to enlist proves to be regrettable, and there's a feeling of the
walls closing in, " says Sigel.
When Cherry lands in Iraq, the widescreen frame is restored, and
Sigel transitions to Leitz Cine M 0.8 primes and " more neutral color. " He
adds, " Leicas are the tried-and-true lenses photojournalists have used
for decades, and this was meant to be a certain nod to documentary -
but as if David Lean were filming it! "
Cherry's first combat experience is depicted with a minute-long Inspire drone shot that echoes the film's opener: The camera flies over
a mountain range where insurgents are firing on Humvees below,
60 / MARCH 2021
p.54-65 Cherry v3 DONE.indd 60
2/8/21 9:48 AM
American Cinematographer - March 2021
Table of Contents for the Digital Edition of American Cinematographer - March 2021
Contents
American Cinematographer - March 2021 - Cover1
American Cinematographer - March 2021 - Cover2
American Cinematographer - March 2021 - 1
American Cinematographer - March 2021 - Contents
American Cinematographer - March 2021 - 3
American Cinematographer - March 2021 - 4
American Cinematographer - March 2021 - 5
American Cinematographer - March 2021 - 6
American Cinematographer - March 2021 - 7
American Cinematographer - March 2021 - 8
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American Cinematographer - March 2021 - 18
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American Cinematographer - March 2021 - 20
American Cinematographer - March 2021 - 21
American Cinematographer - March 2021 - 22
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American Cinematographer - March 2021 - 27
American Cinematographer - March 2021 - 28
American Cinematographer - March 2021 - 29
American Cinematographer - March 2021 - 30
American Cinematographer - March 2021 - 31
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American Cinematographer - March 2021 - 33
American Cinematographer - March 2021 - 34
American Cinematographer - March 2021 - 35
American Cinematographer - March 2021 - 36
American Cinematographer - March 2021 - 37
American Cinematographer - March 2021 - 38
American Cinematographer - March 2021 - 39
American Cinematographer - March 2021 - 40
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American Cinematographer - March 2021 - 42
American Cinematographer - March 2021 - 43
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American Cinematographer - March 2021 - 45
American Cinematographer - March 2021 - 46
American Cinematographer - March 2021 - 47
American Cinematographer - March 2021 - 48
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American Cinematographer - March 2021 - 50
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American Cinematographer - March 2021 - 60
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American Cinematographer - March 2021 - Cover3
American Cinematographer - March 2021 - Cover4
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