American Cinematographer - April 2012 - 20

Top: Eliezer (Shlomo Bar-Aba) studies the Talmud. Middle: Eliezer and his son, Uriel (Lior Ashkenazi), share the frame in an uncomfortable shot that lasts six minutes. Bottom: Cinematographer Yaron Scharf checks the light in the set.

and when everyone stands to applaud again, Eliezer’s clapping hands fill the frame. The scene then cuts away, ending the shot. The aspect ratio also proved ideal for a scene in which a number of people are crowded around a table in a small room. (This was the only sequence in the film shot in a studio.) A group of academics is trying
20 April 2012

to persuade Uriel to accept a major prize that Eliezer thinks he has won. The scene is both comic and tense, and the filmmakers wanted it to feel claustrophobic. “Even though we had wild walls and ceiling, we used very wide lenses, sticking with 16mm, 20mm and 24mm primes,” recalls Scharf. “The characters are so close to one another
American Cinematographer

their faces almost touch. When we had a close-up of somebody, we made sure one or two other characters were out-of-focus in the foreground [or background, depending upon the shot].” Born and raised in Jerusalem, Scharf graduated from Tel Aviv University Film School and the School of Visual Arts in New York, where he studied photography. He won his first Ophir (Israel’s national film prize) for the feature 7 Days (2008), and he recently won another for Footnote, which was also nominated for the Academy Award for Best Foreign-Language Feature. The lighting concept for Footnote was one of high contrast, with characters and their immediate surroundings well lit while everything else quickly falls off into darkness. “[Essentially it was] a spotlight, but we didn’t want it to look like it was a spotlight,” says Scharf. “My gaffer, Shuki Paz, and I tried to make it feel as if the light was coming from one main source. For night interiors, that meant [whatever practical was in the room]. “In one scene, Eliezer is in his office, and there’s a practical lamp on his desk,” he continues. “I added some small LED lights and a tiny bit of fill, but that one practical, which held two 60-watt household bulbs, was pretty much lighting the entire room.I used flags and gobos to cut the light from everywhere but his face and let the background fall into darkness. Sometimes I put black cloth on the floor so we didn’t get any bounce from there. In the digital grade, we took the effect a bit further with a vignette. “As the story progresses and the father-son conflict deepens, the colors



American Cinematographer - April 2012

Table of Contents for the Digital Edition of American Cinematographer - April 2012

American Cinematographer - April 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Polaris campaign
Production Slate: Footnote4:44 Last Day on Earth
Vice at the Vatican
Back to School
Sundance Standouts
Filmmakers’ Forum: Haskell Wexler, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - American Cinematographer - April 2012
American Cinematographer - April 2012 - Cover2
American Cinematographer - April 2012 - 1
American Cinematographer - April 2012 - 2
American Cinematographer - April 2012 - Contents
American Cinematographer - April 2012 - 4
American Cinematographer - April 2012 - 5
American Cinematographer - April 2012 - 6
American Cinematographer - April 2012 - 7
American Cinematographer - April 2012 - Editor’s Note
American Cinematographer - April 2012 - 9
American Cinematographer - April 2012 - President’s Desk
American Cinematographer - April 2012 - 11
American Cinematographer - April 2012 - Short Takes: Polaris campaign
American Cinematographer - April 2012 - 13
American Cinematographer - April 2012 - 14
American Cinematographer - April 2012 - 15
American Cinematographer - April 2012 - 16
American Cinematographer - April 2012 - 17
American Cinematographer - April 2012 - Production Slate: Footnote4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
American Cinematographer - April 2012 - 20
American Cinematographer - April 2012 - 21
American Cinematographer - April 2012 - 22
American Cinematographer - April 2012 - 23
American Cinematographer - April 2012 - 24
American Cinematographer - April 2012 - 25
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American Cinematographer - April 2012 - 27
American Cinematographer - April 2012 - 28
American Cinematographer - April 2012 - 29
American Cinematographer - April 2012 - 30
American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
American Cinematographer - April 2012 - 33
American Cinematographer - April 2012 - 34
American Cinematographer - April 2012 - 35
American Cinematographer - April 2012 - 36
American Cinematographer - April 2012 - 37
American Cinematographer - April 2012 - 38
American Cinematographer - April 2012 - 39
American Cinematographer - April 2012 - 40
American Cinematographer - April 2012 - 41
American Cinematographer - April 2012 - 42
American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
American Cinematographer - April 2012 - 45
American Cinematographer - April 2012 - 46
American Cinematographer - April 2012 - 47
American Cinematographer - April 2012 - 48
American Cinematographer - April 2012 - 49
American Cinematographer - April 2012 - 50
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American Cinematographer - April 2012 - 60
American Cinematographer - April 2012 - 61
American Cinematographer - April 2012 - 62
American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
American Cinematographer - April 2012 - 65
American Cinematographer - April 2012 - 66
American Cinematographer - April 2012 - 67
American Cinematographer - April 2012 - 68
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American Cinematographer - April 2012 - 79
American Cinematographer - April 2012 - 80
American Cinematographer - April 2012 - 81
American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
American Cinematographer - April 2012 - 83
American Cinematographer - April 2012 - 84
American Cinematographer - April 2012 - 85
American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
American Cinematographer - April 2012 - 89
American Cinematographer - April 2012 - 90
American Cinematographer - April 2012 - 91
American Cinematographer - April 2012 - 92
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American Cinematographer - April 2012 - 99
American Cinematographer - April 2012 - 100
American Cinematographer - April 2012 - 101
American Cinematographer - April 2012 - International Marketplace
American Cinematographer - April 2012 - Classified Ads
American Cinematographer - April 2012 - Ad Index
American Cinematographer - April 2012 - 105
American Cinematographer - April 2012 - Clubhouse News
American Cinematographer - April 2012 - 107
American Cinematographer - April 2012 - ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - Cover3
American Cinematographer - April 2012 - Cover4
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