American Cinematographer - April 2011 - 45
view of the world but also a psychological one,” says Lachman. Thus, shooting through or off storefront windows, revolving glass doors, a passing bus or a picture frame became a way to suggest Mildred’s emotional state. “We’re showing something of her interior world through her exterior world, things that Mildred may not even see in herself as she struggles to find her emotional footing,” says Lachman. “The [distortion] created by the glass suggests her fragmented world and her sense of dislocation.” The opening scene of the first episode offers a prime example of this strategy. As Mildred makes a pie, all we see are her hands kneading the dough. The camera, which remains at her waist level, is positioned behind her and slightly to the left, shooting through an interior French door. “It was a door to the kitchen, and we opened it at an angle and shot through it,” says Lachman. “We made sure the panes of
Space lights provide general ambience for scenes in Mildred’s restaurant, a set built onstage at Steiner Studios.
www.theasc.com
April 2011
45
http://www.theasc.com
American Cinematographer - April 2011
Table of Contents for the Digital Edition of American Cinematographer - April 2011
American Cinematographer - April 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Faeries”
Production Slate: Jane Eyre • Battle: Los Angeles
Wicked World
A Woman on the Verge
Optical Filtration and 3-D
Sundance 2011: Spirited Images
Post Focus: Red Riding Hood
Tricks of the Trade: Unfettering a Digital Shoot
Filmmakers’ Forum: The Image Interchange Framework
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - American Cinematographer - April 2011
American Cinematographer - April 2011 - Cover2
American Cinematographer - April 2011 - 1
American Cinematographer - April 2011 - 2
American Cinematographer - April 2011 - Contents
American Cinematographer - April 2011 - 4
American Cinematographer - April 2011 - 5
American Cinematographer - April 2011 - 6
American Cinematographer - April 2011 - 7
American Cinematographer - April 2011 - Editor’s Note
American Cinematographer - April 2011 - 9
American Cinematographer - April 2011 - President’s Desk
American Cinematographer - April 2011 - 11
American Cinematographer - April 2011 - Short Takes: “Faeries”
American Cinematographer - April 2011 - 13
American Cinematographer - April 2011 - 14
American Cinematographer - April 2011 - 15
American Cinematographer - April 2011 - Production Slate: Jane Eyre • Battle: Los Angeles
American Cinematographer - April 2011 - 17
American Cinematographer - April 2011 - 18
American Cinematographer - April 2011 - 19
American Cinematographer - April 2011 - 20
American Cinematographer - April 2011 - 21
American Cinematographer - April 2011 - 22
American Cinematographer - April 2011 - 23
American Cinematographer - April 2011 - 24
American Cinematographer - April 2011 - 25
American Cinematographer - April 2011 - Wicked World
American Cinematographer - April 2011 - 27
American Cinematographer - April 2011 - 28
American Cinematographer - April 2011 - 29
American Cinematographer - April 2011 - 30
American Cinematographer - April 2011 - 30a
American Cinematographer - April 2011 - 30b
American Cinematographer - April 2011 - 31
American Cinematographer - April 2011 - 32
American Cinematographer - April 2011 - 33
American Cinematographer - April 2011 - 34
American Cinematographer - April 2011 - 35
American Cinematographer - April 2011 - 36
American Cinematographer - April 2011 - 37
American Cinematographer - April 2011 - 38
American Cinematographer - April 2011 - 39
American Cinematographer - April 2011 - 40
American Cinematographer - April 2011 - 41
American Cinematographer - April 2011 - A Woman on the Verge
American Cinematographer - April 2011 - 43
American Cinematographer - April 2011 - 44
American Cinematographer - April 2011 - 45
American Cinematographer - April 2011 - 46
American Cinematographer - April 2011 - 47
American Cinematographer - April 2011 - 48
American Cinematographer - April 2011 - 49
American Cinematographer - April 2011 - 50
American Cinematographer - April 2011 - 51
American Cinematographer - April 2011 - Optical Filtration and 3-D
American Cinematographer - April 2011 - 53
American Cinematographer - April 2011 - 54
American Cinematographer - April 2011 - 55
American Cinematographer - April 2011 - 56
American Cinematographer - April 2011 - 57
American Cinematographer - April 2011 - 58
American Cinematographer - April 2011 - 59
American Cinematographer - April 2011 - 60
American Cinematographer - April 2011 - 61
American Cinematographer - April 2011 - Sundance 2011: Spirited Images
American Cinematographer - April 2011 - 63
American Cinematographer - April 2011 - 64
American Cinematographer - April 2011 - 65
American Cinematographer - April 2011 - 66
American Cinematographer - April 2011 - 67
American Cinematographer - April 2011 - 68
American Cinematographer - April 2011 - 69
American Cinematographer - April 2011 - 70
American Cinematographer - April 2011 - 71
American Cinematographer - April 2011 - 72
American Cinematographer - April 2011 - 73
American Cinematographer - April 2011 - 74
American Cinematographer - April 2011 - 75
American Cinematographer - April 2011 - 76
American Cinematographer - April 2011 - 77
American Cinematographer - April 2011 - Post Focus: Red Riding Hood
American Cinematographer - April 2011 - 79
American Cinematographer - April 2011 - 80
American Cinematographer - April 2011 - 81
American Cinematographer - April 2011 - Tricks of the Trade: Unfettering a Digital Shoot
American Cinematographer - April 2011 - 83
American Cinematographer - April 2011 - 84
American Cinematographer - April 2011 - 85
American Cinematographer - April 2011 - Filmmakers’ Forum: The Image Interchange Framework
American Cinematographer - April 2011 - 87
American Cinematographer - April 2011 - 88
American Cinematographer - April 2011 - 89
American Cinematographer - April 2011 - New Products & Services
American Cinematographer - April 2011 - 91
American Cinematographer - April 2011 - 92
American Cinematographer - April 2011 - 93
American Cinematographer - April 2011 - 94
American Cinematographer - April 2011 - 95
American Cinematographer - April 2011 - 96
American Cinematographer - April 2011 - 97
American Cinematographer - April 2011 - International Marketplace
American Cinematographer - April 2011 - 99
American Cinematographer - April 2011 - Classified Ads/Ad Index
American Cinematographer - April 2011 - 101
American Cinematographer - April 2011 - Clubhouse News
American Cinematographer - April 2011 - 103
American Cinematographer - April 2011 - ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - Cover3
American Cinematographer - April 2011 - Cover4
American Cinematographer - April 2011 - Cover5
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