American Cinematographer - May 2020 - 40
Stars
Align
AC checks in with three
Rising Stars of Cinematography
from past years to discuss their
current projects, and inclusion and
mentorship in the industry
By Patricia Thomson
Our recent March 2020 issue included the fourth installment of AC 's annual Rising Stars of Cinematography, so we
thought it was time to check in with some of the promising
directors of photography selected in previous years. From
our 2017 roster (AC Feb. '17), we caught up with Carmen
Cabana and Kira Kelly, whose respective TV series - Hulu's
High Fidelity and Netflix's Self Made: Inspired by the Life of
Madam C.J. Walker - recently commenced streaming. And
one of last year's Rising Stars, Anka Malatynska, chatted
with us about shooting Hulu's Monsterland, scheduled for
release later this year.
Carmen Cabana
High Fidelity
"When it comes to love and music, everything is
enhanced, richer, bolder - just full of life," says Carmen
Cabana. Her latest project, High Fidelity, is very much about
40
May 2020
love and music, coupled with a rich, bold look.
Created by Sarah Kucserka and Veronica West, the
show is a gender-flipped version of Nick Hornby's 1995
novel and Stephen Frears' 2000 big-screen adaptation (shot
by Seamus McGarvey, ASC, BSC). This time around, it's a
female record-store owner (Zoë Kravitz) who's been
dumped and is struggling to rebound.
This role reversal "refreshed the story," says Cabana,
who shot all 10 episodes of the series. "I loved that the
production wanted to do a female-gaze version, with a
female protagonist who shows women's perspectives on the
dating world."
On the show, Rob (short for Robyn) addresses the
camera directly, mulling over the quandaries of romantic
love. She often does so while striding through the streets of
Crown Heights, her semi-gentrified Brooklyn neighborhood,
where practical locations were shot.
"High Fidelity was about making the camera feel like a
friend walking right next to Rob, chatting," says Cabana.
"That's why the camera had a close proximity, little foreground and wider lenses." The cinematographer shot with
dual Arri Alexa Minis, framing for 1.78:1. She used
customized Panavision Primo lenses, "which produced beautiful flares." She often exposed at T4 to retain some depth in
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American Cinematographer - May 2020
Table of Contents for the Digital Edition of American Cinematographer - May 2020
Contents
American Cinematographer - May 2020 - Intro
American Cinematographer - May 2020 - Cover1
American Cinematographer - May 2020 - Cover2
American Cinematographer - May 2020 - 1
American Cinematographer - May 2020 - Contents
American Cinematographer - May 2020 - 3
American Cinematographer - May 2020 - 4
American Cinematographer - May 2020 - 5
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American Cinematographer - May 2020 - Cover3
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