American Cinematographer - June 2017 - 54

◗

Paradise Lost

Cast and crew work on location. "The only time we digitally extend a set is when it's just so
big that it's impossible to build," says Wolski. Scott adds, "It's always better for performance
to give actors something to respond to."

54

June 2017

American Cinematographer

hard to light for multiple cameras, but if
you light an environment in an interesting way, the angles find themselves. The
multiple cameras actually lend themselves to more obscure, visually interesting angles, especially when you have a
director like Ridley who understands
what he's doing. If one of the cameras is
compromised, he knows he's not going to
use it. He's capable of concentrating on
four cameras at once and making live
decisions without anything escaping his
attention. As long as you're not covering
it in an overly conventional way with just
a bunch of close-ups, you're always
getting multiple possibilities and you can
shoot a lot of great material in six or
seven hours. And the lighting is, in a way,
more real - especially given the way
digital media can handle some jarring
lighting juxtapositions.
How has shooting digital changed
the way both of you approach the work?
Scott: It enables me to do it faster.
Wolski: Much faster. And further.
You can do so much more with all the
possibilities. I know some people still
hang onto film, but I think it's a purely
romantic notion, especially since almost
everyone is manipulating everything
digitally in the end anyway. So what's the
point? People forget about all the problems we used to have. We'd sweat over
whether something went wrong in the
bath; or we'd find out a day later that
something was out of focus; or [there
would be] scratches in the negative,
followed by people at the lab saying, 'It's
not my fault, it's not my fault!'
Scott: There would be so much
inconsistency in prints. The color would
change from one to the next - from one
reel to the next, if something went really
wrong. With digital, once you have the
data laid, you press a button and get
10,000 'prints' that look exactly the way
they're supposed to. And your capabilities in the grading are so much greater
now than they ever were with celluloid. I
love sitting in the final grade and seeing
what you can do with color. It's like the
final varnish on the painting.
On the other hand, a photochemical negative is more stable than digital. I



Table of Contents for the Digital Edition of American Cinematographer - June 2017

Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
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American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
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American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
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American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
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American Cinematographer - June 2017 - 40
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American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
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American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
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American Cinematographer - June 2017 - 53
American Cinematographer - June 2017 - 54
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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