American Cinematographer - May 2014 - 59

little sunlight there was, but they sometimes used large HMIs bounced on
large frames on one side of frame, and
large negative fill on the other, to add
some direction to the diffused light.
Zal says he wanted to create
"lighting that was very simple and
natural, like the other elements in this
movie. I wanted to find a proper
contrast between the characters and
their environments." He notes that
when he and Pawlikowski felt the image
was "too beautiful," they stepped back to
simpler setups.
Zal perceived his frequent reduction of light in the frame as following
the director's desire to strip down to the

"A film that works is
like a table with four
even legs: the
structure, acting,
photography and
sound are all equal."

essentials. "It was important to subtract
lighting, like Pawel was subtracting
other levels, and create an uncluttered
look." He often used negative fill to
create contrast in the image. With a
chuckle, he admits that his approach
often led to a "forest" of stands and flags
"to cut light from a big soft source" and
modulate areas of shadows in the static
frame.
For day interiors, Zal often used
6K and 4K HMI units outside (on tall
stands or cherry pickers), putting them
through 4x4-meter silk butterflies or,
depending on available space, large
frames of Lee 250 diffusion. In the
convent chapel, he added large frames
of black cloth to create a contrast with
these soft sources coming through the

Top: A handsome
saxophone player
(Dawid Ogrodnik)
leads the
nightclub's band.
Middle: A closer
view of the
location shows the
diffused lighting
deployed for the
scene. Bottom: Ida
and the musician
share a moment
outside the club.

www.theasc.com

May 2014

59



http://www.theasc.com

American Cinematographer - May 2014

Table of Contents for the Digital Edition of American Cinematographer - May 2014

Contents
American Cinematographer - May 2014 - Cover1
American Cinematographer - May 2014 - Cover2
American Cinematographer - May 2014 - 1
American Cinematographer - May 2014 - 2
American Cinematographer - May 2014 - Contents
American Cinematographer - May 2014 - 4
American Cinematographer - May 2014 - 5
American Cinematographer - May 2014 - 6
American Cinematographer - May 2014 - 7
American Cinematographer - May 2014 - 8
American Cinematographer - May 2014 - 9
American Cinematographer - May 2014 - 10
American Cinematographer - May 2014 - 11
American Cinematographer - May 2014 - 12
American Cinematographer - May 2014 - 13
American Cinematographer - May 2014 - 14
American Cinematographer - May 2014 - 15
American Cinematographer - May 2014 - 16
American Cinematographer - May 2014 - 17
American Cinematographer - May 2014 - 18
American Cinematographer - May 2014 - 19
American Cinematographer - May 2014 - 20
American Cinematographer - May 2014 - 21
American Cinematographer - May 2014 - 22
American Cinematographer - May 2014 - 23
American Cinematographer - May 2014 - 24
American Cinematographer - May 2014 - 25
American Cinematographer - May 2014 - 26
American Cinematographer - May 2014 - 27
American Cinematographer - May 2014 - 28
American Cinematographer - May 2014 - 29
American Cinematographer - May 2014 - 30
American Cinematographer - May 2014 - 31
American Cinematographer - May 2014 - 32
American Cinematographer - May 2014 - 33
American Cinematographer - May 2014 - 34
American Cinematographer - May 2014 - 35
American Cinematographer - May 2014 - 36
American Cinematographer - May 2014 - 37
American Cinematographer - May 2014 - 38
American Cinematographer - May 2014 - 39
American Cinematographer - May 2014 - 40
American Cinematographer - May 2014 - 41
American Cinematographer - May 2014 - 42
American Cinematographer - May 2014 - 43
American Cinematographer - May 2014 - 44
American Cinematographer - May 2014 - 45
American Cinematographer - May 2014 - 46
American Cinematographer - May 2014 - 47
American Cinematographer - May 2014 - 48
American Cinematographer - May 2014 - 49
American Cinematographer - May 2014 - 50
American Cinematographer - May 2014 - 51
American Cinematographer - May 2014 - 52
American Cinematographer - May 2014 - 53
American Cinematographer - May 2014 - 54
American Cinematographer - May 2014 - 55
American Cinematographer - May 2014 - 56
American Cinematographer - May 2014 - 57
American Cinematographer - May 2014 - 58
American Cinematographer - May 2014 - 59
American Cinematographer - May 2014 - 60
American Cinematographer - May 2014 - 61
American Cinematographer - May 2014 - 62
American Cinematographer - May 2014 - 63
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American Cinematographer - May 2014 - 92
American Cinematographer - May 2014 - Cover3
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