American Cinematographer - May 2016 - 54
◗
Stripped Down
Top: Davis brings Karen to his home for the first time. Middle: Davis and Karen meet at the Coney Island
Boardwalk. Bottom: Karen brings Davis to a Coney Island warehouse to meet her pot dealer.
54
May 2016
American Cinematographer
house's large windows in day scenes,
Bélanger requested that Paino find a
house oriented in a direction that would
provide mostly indirect light. Similarly,
day interiors in Davis' office - shot on
an upper floor of a Manhattan office
tower - placed characters in front of
large windows with no additional lighting.
"Jean-Marc shoots fast, and it
was rare that I'd have natural light
changing completely during a scene,"
Bélanger says. If the natural light did
change, the cinematographer would
manipulate the camera's ISO in order to
preserve his T-stop. "I exposed in the
middle of the curve to keep details on
the raw image. The character in the
foreground is underexposed, the
window is overexposed, and in the color
grading both extremes were brought
back to a more decent exposure," he
explains. Bélanger generally maintained
an 800 ISO, "and if the sun came out I
would go to 160," he says.
For a scene in which Davis jams
with a drumming Chris in Karen's
garage, evening caught up to the crew,
and they were losing light. The space
already had a couple of color-balanced
fluorescent practicals, and the crew
created an additional soft sunlight with
a couple of Arri M18 HMIs gelled with
1⁄4 CTO, bounced off beadboard and
aimed through the garage's window.
Table of Contents for the Digital Edition of American Cinematographer - May 2016
Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
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American Cinematographer - May 2016 - 11
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American Cinematographer - May 2016 - 14
American Cinematographer - May 2016 - 15
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American Cinematographer - May 2016 - 17
American Cinematographer - May 2016 - 18
American Cinematographer - May 2016 - 19
American Cinematographer - May 2016 - 20
American Cinematographer - May 2016 - 21
American Cinematographer - May 2016 - 22
American Cinematographer - May 2016 - 23
American Cinematographer - May 2016 - 24
American Cinematographer - May 2016 - 25
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American Cinematographer - May 2016 - 28
American Cinematographer - May 2016 - 29
American Cinematographer - May 2016 - 30
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American Cinematographer - May 2016 - 33
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American Cinematographer - May 2016 - 43
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American Cinematographer - May 2016 - 53
American Cinematographer - May 2016 - 54
American Cinematographer - May 2016 - 55
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American Cinematographer - May 2016 - 58
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American Cinematographer - May 2016 - 60
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American Cinematographer - May 2016 - Cover3
American Cinematographer - May 2016 - Cover4
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