American Cinematographer - July 2009 - 42
Impressionistic Cinema formats in general, but with anamorphic, the close-up is especially powerful, and you have to hold the power back. You shouldn’t go into a strong, tight close-up unless you need to.” With a chuckle, Rae recalls, “Darius and I decided early on that when Stephen asked for a close-up, it would be a shot from the waist up, and we would only do two or three shots that were closer — we really saved them. Stephen would say, ‘Can’t I have a close-up?’ and we’d say, ‘This is a close-up.’ And he’d say, ‘Oh, is it?’ He generously allowed us to do that.” The rare close-ups were filmed with an Xtal Express 152mm without any diffusion filters. Khondji and Barrault devised a special “Michelle light” for some early scenes in the film. Inspired by the sequence at Maxim’s, Barrault constructed a lightbox comprising a rectangle of 20 150-watt household bulbs arranged in an arc that focused For the dining room in Biarritz, depicted in this frame grab, Khondji’s goal was directionless fill. “I like coming back to an era when the lighting was a bit flatter,” he says. “I didn’t want to make it low-key.” the overcast image reflects her sadness. Barrault notes that Khondji almost always shaded the main characters in exteriors. To add fill, the crew often used Gaffair balloons, which could be moved on booms to follow the characters. Instead of the customary 85 filter, Khondji sometimes uses an LLD or 812 filter because they “barely correct daylight,” giving a day exterior a slight blue tone. Arguably, the film’s most striking cinematographic accomplishment is its portraiture. In many ways, the faces define the movie, Pfeiffer’s more than any other. Khondji believed the film should have very few close-ups. “I feel that anamorphic close-ups sometimes magnify too much. You have to be careful with them. It’s a rule with all 42
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http://www.walterklassen.com
American Cinematographer - July 2009
Table of Contents for the Digital Edition of American Cinematographer - July 2009
American Cinematographer - July 2009
Contents
Editor’s Note
Short Takes: Puppy Love
Production Slate: Moon and Séraphine
Big Guns
Impressionistic Cinema
Risk and Valor
Terror on the Tracks
Post Focus: Mega Playground’s DP Dailies
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Jack Cardiff, BSC
Clubhouse News
ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - American Cinematographer - July 2009
American Cinematographer - July 2009 - Cover2
American Cinematographer - July 2009 - 1
American Cinematographer - July 2009 - 2
American Cinematographer - July 2009 - Contents
American Cinematographer - July 2009 - 4
American Cinematographer - July 2009 - 5
American Cinematographer - July 2009 - 6
American Cinematographer - July 2009 - 7
American Cinematographer - July 2009 - Editor’s Note
American Cinematographer - July 2009 - 9
American Cinematographer - July 2009 - Short Takes: Puppy Love
American Cinematographer - July 2009 - 11
American Cinematographer - July 2009 - 12
American Cinematographer - July 2009 - 13
American Cinematographer - July 2009 - Production Slate: Moon and Séraphine
American Cinematographer - July 2009 - 15
American Cinematographer - July 2009 - 16
American Cinematographer - July 2009 - 17
American Cinematographer - July 2009 - 18
American Cinematographer - July 2009 - 19
American Cinematographer - July 2009 - 20
American Cinematographer - July 2009 - 21
American Cinematographer - July 2009 - 22
American Cinematographer - July 2009 - 23
American Cinematographer - July 2009 - Big Guns
American Cinematographer - July 2009 - 25
American Cinematographer - July 2009 - 26
American Cinematographer - July 2009 - 27
American Cinematographer - July 2009 - 28
American Cinematographer - July 2009 - 29
American Cinematographer - July 2009 - 30
American Cinematographer - July 2009 - 31
American Cinematographer - July 2009 - 32
American Cinematographer - July 2009 - 33
American Cinematographer - July 2009 - Impressionistic Cinema
American Cinematographer - July 2009 - 35
American Cinematographer - July 2009 - 36
American Cinematographer - July 2009 - 37
American Cinematographer - July 2009 - 38
American Cinematographer - July 2009 - 39
American Cinematographer - July 2009 - 40
American Cinematographer - July 2009 - 41
American Cinematographer - July 2009 - 42
American Cinematographer - July 2009 - 43
American Cinematographer - July 2009 - Risk and Valor
American Cinematographer - July 2009 - 45
American Cinematographer - July 2009 - 46
American Cinematographer - July 2009 - 47
American Cinematographer - July 2009 - 48
American Cinematographer - July 2009 - 49
American Cinematographer - July 2009 - 50
American Cinematographer - July 2009 - 51
American Cinematographer - July 2009 - Terror on the Tracks
American Cinematographer - July 2009 - 53
American Cinematographer - July 2009 - 54
American Cinematographer - July 2009 - 55
American Cinematographer - July 2009 - 56
American Cinematographer - July 2009 - 57
American Cinematographer - July 2009 - 58
American Cinematographer - July 2009 - 59
American Cinematographer - July 2009 - Post Focus: Mega Playground’s DP Dailies
American Cinematographer - July 2009 - 61
American Cinematographer - July 2009 - 62
American Cinematographer - July 2009 - 63
American Cinematographer - July 2009 - New Products & Services
American Cinematographer - July 2009 - 65
American Cinematographer - July 2009 - 66
American Cinematographer - July 2009 - 67
American Cinematographer - July 2009 - International Marketplace
American Cinematographer - July 2009 - Classified Ads
American Cinematographer - July 2009 - Ad Index
American Cinematographer - July 2009 - 71
American Cinematographer - July 2009 - In Memoriam: Jack Cardiff, BSC
American Cinematographer - July 2009 - 73
American Cinematographer - July 2009 - Clubhouse News
American Cinematographer - July 2009 - 75
American Cinematographer - July 2009 - ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - Cover3
American Cinematographer - July 2009 - Cover4
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