American Cinematographer - July 2009 - 43
soft light on Pfeiffer, giving her a unique glow that retained “the piquant of the bare bulb,” says the gaffer. This arrangement could not be used easily on the soundstage in Cologne, where scenes in Léa’s bedroom, bathroom and boudoir were shot. For those sequences, a similar arc of soft light was often created with Kino Flo units and Lee 129. “We had to be careful not to come too close and not to be too sharp on the skin,” notes Khondji. When the broken-hearted Léa returns from Biarritz, the lighting becomes less soft and the camera comes closer to her, revealing a few wrinkles here and there from sidelight. When Chéri comes back to see Léa, he kisses her on the floor. After so many wider shots, the softly lit dual close-up is powerful. “The highlight with a liner on Rupert is almost over the top,” says Khondji, adding that the difficulty lay in flagging Friend while keeping a soft light from diffused Kino Flos on Pfeiffer. He remarks, “Green can be sexy on the skin. I use underexposed green all the time.” Toward the end of the film, Léa comes to see herself as an old woman, in a one-shot sequence in front of the mirror. Khondji explains that the remarkable transition was achieved very simply with a gradual shift from frontal light to toplight; a black cloth covered white gridcloth lit by a distant, frontal Wendy Light, while at the same time, flags were moved to unveil an eight-tube Kino Flo Wall-o-Lite above. The seamless transition makes Léa subtly age before our eyes. Chéri’s subject is age, and the film could not have worked without an older actress willing to show her age rather than hide it. “I take my hat off to Michelle,” Frears says of his star. He adds that the film “only really came to life” once all the elements had been added: images, editing and Alexandre Desplat’s music. Khondji had a similar epiphany when he saw the film recently. “You don’t really do it all intentionally,” he muses. “It’s only when you see the finished film that you realize what you have created together as a group.” I TECHNICAL SPECS 2.40:1 Anamorphic 35mm Arricam Studio, Lite Technovision/Cooke Classic, Cooke Xtal Express and Kowa lenses Fuji Eterna 250T 8553, 400T 8583, 500T 8573 Digital Intermediate Printed on Kodak Vision 2383 A world where entertainment technology and creative vision converge. Save the Date: September 17, 2009 The New Yorker, New York, NY November 4-5, 2009 Burbank Marriott, Burbank, CA the future in hand | createasphere.com 43
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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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