American Cinematographer - April 2021 - 54
DOMESTIC DISCORD
Tech Specs:
1.85:1
3-perf Super 35
Kodak Double-X 5222 250D/200T
Cameras: Arricam LT
Lenses: Arriflex/Zeiss Super Speed MKIII
John David Washington and Zendaya as Malcolm and Marie.
Lighting Specs
Rév and chief lighting technician Danny Durr used hard tungsten
spotlights; Rifa 44, 55 and 66 lights; and LiteGear LiteMats to
augment LiteTile soft boxes, hung from the ceiling by rigging gaffer
Joseph Moran, which were diffused with heavy diffusion " equivalent
to Magic Cloth, " Rév says, and kept directional with control grids
by rigging key grip Joe Chouchanian. For exteriors, everything was
lit from the ground - hidden behind hills and trees, and around the
house - with 12-light Maxi Brutes, two 20K Fresnels through Half
Grid, two Arri M18s, as well as 2K Blondes and Malibu uplights with
75-watt JDR bulbs.
In regard to additional harder lighting, " For certain situations, we
used open-face 750-watt Redheads coming through the windows, "
Rév says, " and small 300-watt and 650-watt spotlights in longer,
more complicated shots where we needed something we could
shape and get enough exposure out of. For exteriors, we sometimes
used 1K spots and 2K Blondes as edge lights. "
" feel more like a movie. " The cinematographer adds that they wanted to
add a layer of stylistic abstraction to the image. " Putting something into
black-and-white immediately creates opportunity for a more analytic
perspective, " he says.
Rév opted for Arricam LTs - " one full package and a backup body, "
he notes, for a single-camera shoot throughout - paired with Arriflex/
Zeiss Super Speed prime lenses. The filmmakers captured 3-perf Super
35 on Kodak Double-X 5222 250D/200T film stock.
It helped that the cinematographer had recently tested Double-X
against Kodak's Vision3 5219 500T color stock for Euphoria. " It immediately clicked that [Double-X] would be perfect just by the nature of its
contrast and grain structure, " he says. " Of course, 5219 is great - but
the gamma curve of Double-X and the way it renders certain colors into
grayscale is just different than color stock. "
Following newly minted Covid-19 restrictions, Malcolm & Marie's
22-person crew (many of whom also worked on Euphoria, including 1st
AC Norris Fox, chief lighting technician Danny Durr, key grip Jeff Kunkel
54 / APRIL 2021
p.52-57 Malcolm and Marie V3 DONE.indd 54
3/9/21 1:12 PM
American Cinematographer - April 2021
Table of Contents for the Digital Edition of American Cinematographer - April 2021
Contents
American Cinematographer - April 2021 - Cover1
American Cinematographer - April 2021 - Cover2
American Cinematographer - April 2021 - 1
American Cinematographer - April 2021 - Contents
American Cinematographer - April 2021 - 3
American Cinematographer - April 2021 - 4
American Cinematographer - April 2021 - 5
American Cinematographer - April 2021 - 6
American Cinematographer - April 2021 - 7
American Cinematographer - April 2021 - 8
American Cinematographer - April 2021 - 9
American Cinematographer - April 2021 - 10
American Cinematographer - April 2021 - 11
American Cinematographer - April 2021 - 12
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American Cinematographer - April 2021 - 14
American Cinematographer - April 2021 - 15
American Cinematographer - April 2021 - 16
American Cinematographer - April 2021 - 17
American Cinematographer - April 2021 - 18
American Cinematographer - April 2021 - 19
American Cinematographer - April 2021 - 20
American Cinematographer - April 2021 - 21
American Cinematographer - April 2021 - 22
American Cinematographer - April 2021 - 23
American Cinematographer - April 2021 - 24
American Cinematographer - April 2021 - 25
American Cinematographer - April 2021 - 26
American Cinematographer - April 2021 - 27
American Cinematographer - April 2021 - 28
American Cinematographer - April 2021 - 28a
American Cinematographer - April 2021 - 28b
American Cinematographer - April 2021 - 29
American Cinematographer - April 2021 - 30
American Cinematographer - April 2021 - 30a
American Cinematographer - April 2021 - 30b
American Cinematographer - April 2021 - 31
American Cinematographer - April 2021 - 32
American Cinematographer - April 2021 - 33
American Cinematographer - April 2021 - 34
American Cinematographer - April 2021 - 35
American Cinematographer - April 2021 - 36
American Cinematographer - April 2021 - 37
American Cinematographer - April 2021 - 38
American Cinematographer - April 2021 - 39
American Cinematographer - April 2021 - 40
American Cinematographer - April 2021 - 41
American Cinematographer - April 2021 - 42
American Cinematographer - April 2021 - 43
American Cinematographer - April 2021 - 44
American Cinematographer - April 2021 - 45
American Cinematographer - April 2021 - 46
American Cinematographer - April 2021 - 47
American Cinematographer - April 2021 - 48
American Cinematographer - April 2021 - 49
American Cinematographer - April 2021 - 50
American Cinematographer - April 2021 - 51
American Cinematographer - April 2021 - 52
American Cinematographer - April 2021 - 53
American Cinematographer - April 2021 - 54
American Cinematographer - April 2021 - 55
American Cinematographer - April 2021 - 56
American Cinematographer - April 2021 - 57
American Cinematographer - April 2021 - 58
American Cinematographer - April 2021 - 59
American Cinematographer - April 2021 - 60
American Cinematographer - April 2021 - 61
American Cinematographer - April 2021 - 62
American Cinematographer - April 2021 - 63
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American Cinematographer - April 2021 - 71
American Cinematographer - April 2021 - 72
American Cinematographer - April 2021 - Cover3
American Cinematographer - April 2021 - Cover4
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