American Cinematographer - May 2018 - 23

Left: Wyrm sits on
his bed in the
room he shares
with his sister,
Myrcella.
Below left: Miller
and crew prepare
to shoot in the
bedroom.
Below right:
Cinematographer
Heyjin Jun
(operating the
camera) lines up
on Miller while
director
Christopher
Winterbauer looks
over her right
shoulder.

the audience can feel like they, themselves,
are kids. Winterbauer and Jun strove to have
characters centered in the frame and often
surrounded by distinctive production design
- the lonely space around a bus stop, or
the overly cramped school counselor's office,
piled high with chairs and boxes.
"Working with Chris and Heyjin was
a wonderful experience, because both of
them are storytellers who look upon the
physical environments of a film as living
histories, in and of themselves," production
designer Maren Jensen says. "Chris encouraged me to explore how Wyrm's unique
perspective of the world shaped the physical

environment and subsequent design. This
led me to look back on my own memories
and how I looked upon the world then,
which differs from how I see it now."
When Jensen was younger, she
recalls, she associated personal items like
dinosaurs, outer-space motifs and the color
blue with boys, and Barbie dolls, diaries and
the color pink with girls. "My approach to
production design starts inherently with
character study," she says. "I believe that the
things we surround ourselves with, all the
so-called 'stuff' we accumulate, carry a part
of whomever that person is at heart."
Jun notes, "Chris emphasized that
www.ascmag.com

change of light and color could be ignored
by others, but not by Wyrm." During a
pointedly awkward scene in which Myrcella
half-heartedly helps set Wyrm up with his
crush, Izzy (Skye Popov), the TV-screen-motivated effect on the couple glows an ultraintense red - specifically, Apricot gel over a
flickering LED for a shade of orange that
was later color-corrected toward red. The
light was squirreled into an old, boxy,
hollowed-out television. "Wyrm's emotion
burns like neon signs," Jun says. "Everything
is very exaggerated."
Since Jun was shooting raw, the
camera's color temperature was naturally
May 2018

23



http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - May 2018

Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
American Cinematographer - May 2018 - 10
American Cinematographer - May 2018 - 11
American Cinematographer - May 2018 - 12
American Cinematographer - May 2018 - 13
American Cinematographer - May 2018 - 14
American Cinematographer - May 2018 - 15
American Cinematographer - May 2018 - 16
American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
American Cinematographer - May 2018 - 23
American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
American Cinematographer - May 2018 - 26
American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
American Cinematographer - May 2018 - 52
American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
American Cinematographer - May 2018 - 56
American Cinematographer - May 2018 - 57
American Cinematographer - May 2018 - 58
American Cinematographer - May 2018 - 59
American Cinematographer - May 2018 - 60
American Cinematographer - May 2018 - 61
American Cinematographer - May 2018 - 62
American Cinematographer - May 2018 - 63
American Cinematographer - May 2018 - 64
American Cinematographer - May 2018 - 65
American Cinematographer - May 2018 - 66
American Cinematographer - May 2018 - 67
American Cinematographer - May 2018 - 68
American Cinematographer - May 2018 - 69
American Cinematographer - May 2018 - 70
American Cinematographer - May 2018 - 71
American Cinematographer - May 2018 - 72
American Cinematographer - May 2018 - 73
American Cinematographer - May 2018 - 74
American Cinematographer - May 2018 - 75
American Cinematographer - May 2018 - 76
American Cinematographer - May 2018 - 77
American Cinematographer - May 2018 - 78
American Cinematographer - May 2018 - 79
American Cinematographer - May 2018 - 80
American Cinematographer - May 2018 - 81
American Cinematographer - May 2018 - 82
American Cinematographer - May 2018 - 83
American Cinematographer - May 2018 - 84
American Cinematographer - May 2018 - 85
American Cinematographer - May 2018 - 86
American Cinematographer - May 2018 - 87
American Cinematographer - May 2018 - 88
American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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