American Cinematographer - July 2013 - 22
that in the crazy years of Technicolor.
How did you light the scene
showing Laurence getting into a fight
in the red-and-blue bar?
Bélanger: I only used a few lights.
We left everything else dark. I had one 575watt HMI coming through a little round
window [in the background], and I lit the
actors with 1,000-watt Par cans that were
gelled red. I also used a small Litepanel LED
with a red gel to flare the lens. It was like
doing a kind of fogging or flashing incamera, where even the shadows are red.
Was the apartment that Laurence
and Fred share a real location?
Bélanger: It was a set built at Michel
Trudel’s [La Cité du Cinéma] studio, but we
decided right away that we wanted a hard
ceiling, and we wanted to light it like a location. When you’re in a studio and you don’t
have ceilings, you tend to put light where it’s
impossible. We were trying to make things
look real.
Tell us about your post process.
Bélanger: Technicolor [Montreal] did
our processing, dailies and DI. Each morning, I would have some images of each shot
in my e-mail, and during lunch I could
review the DVD. Xavier wanted to be traditional with [the timing], but we had to do a
DI so we could make a print that had black
bars on the side [of the 1.33:1 frame].
Robbie [Ryan] warned me about that,
because all the theater projectors have a
1.85:1 or 1.66:1 gate. We had a great
colorist, Charlotte Mazzinghi, who learned
with the famous French color timer Yvan
Lucas. She is young, but she thinks and talks
in terms of points, the way we used to talk
with a traditional color timer. My philosophy
with the DI is to only do something I know
would be possible photochemically. You can
get crazy with digital timing. It can feel like
you have to use something just because it’s
there, but no, you don’t.
Top: His
transformation
complete,
Laurence steps
outside in one of
the film’s many
slow-motion
shots. Middle: As
Fred is caught in
a swirl of
conflicting
emotions, the
wall behind her
begins to “cry.”
Bottom: Bélanger
considers a setup
inside Laurence
and Fred’s
apartment, a set
built onstage in
Montreal.
22
July 2013
TECHNICAL SPECS
1.33:1
35mm
Panaflex Millennium XL, Arri 435
Panavision Primo, LWZ-1, Macro SM
Fujifilm Eterna 250D 8563, 500T 8573;
F-64D 8522
Digital Intermediate
American Cinematographer
➣
American Cinematographer - July 2013
Table of Contents for the Digital Edition of American Cinematographer - July 2013
American Cinematographer - July 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Dreamland
Production Slate: Laurence Anyways • Post Tenebras Lux
Prime Target
Wild Planet
An Indie Twist on Shakespeare
Tournament of Death
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - American Cinematographer - July 2013
American Cinematographer - July 2013 - Cover2
American Cinematographer - July 2013 - 1
American Cinematographer - July 2013 - 2
American Cinematographer - July 2013 - Contents
American Cinematographer - July 2013 - 4
American Cinematographer - July 2013 - 5
American Cinematographer - July 2013 - 6
American Cinematographer - July 2013 - 7
American Cinematographer - July 2013 - 8
American Cinematographer - July 2013 - 9
American Cinematographer - July 2013 - Editor’s Note
American Cinematographer - July 2013 - 11
American Cinematographer - July 2013 - President’s Desk
American Cinematographer - July 2013 - 13
American Cinematographer - July 2013 - Short Takes: Dreamland
American Cinematographer - July 2013 - 15
American Cinematographer - July 2013 - 16
American Cinematographer - July 2013 - 17
American Cinematographer - July 2013 - 18
American Cinematographer - July 2013 - 19
American Cinematographer - July 2013 - Production Slate: Laurence Anyways • Post Tenebras Lux
American Cinematographer - July 2013 - 21
American Cinematographer - July 2013 - 22
American Cinematographer - July 2013 - 23
American Cinematographer - July 2013 - 24
American Cinematographer - July 2013 - 25
American Cinematographer - July 2013 - 26
American Cinematographer - July 2013 - 27
American Cinematographer - July 2013 - 28
American Cinematographer - July 2013 - 29
American Cinematographer - July 2013 - 30
American Cinematographer - July 2013 - 31
American Cinematographer - July 2013 - Prime Target
American Cinematographer - July 2013 - 33
American Cinematographer - July 2013 - 34
American Cinematographer - July 2013 - 35
American Cinematographer - July 2013 - 36
American Cinematographer - July 2013 - 37
American Cinematographer - July 2013 - 38
American Cinematographer - July 2013 - 39
American Cinematographer - July 2013 - 40
American Cinematographer - July 2013 - 41
American Cinematographer - July 2013 - 42
American Cinematographer - July 2013 - 43
American Cinematographer - July 2013 - Wild Planet
American Cinematographer - July 2013 - 45
American Cinematographer - July 2013 - 46
American Cinematographer - July 2013 - 47
American Cinematographer - July 2013 - 48
American Cinematographer - July 2013 - 49
American Cinematographer - July 2013 - 50
American Cinematographer - July 2013 - 51
American Cinematographer - July 2013 - 52
American Cinematographer - July 2013 - 53
American Cinematographer - July 2013 - 54
American Cinematographer - July 2013 - 55
American Cinematographer - July 2013 - An Indie Twist on Shakespeare
American Cinematographer - July 2013 - 57
American Cinematographer - July 2013 - 58
American Cinematographer - July 2013 - 59
American Cinematographer - July 2013 - 60
American Cinematographer - July 2013 - 61
American Cinematographer - July 2013 - 62
American Cinematographer - July 2013 - 63
American Cinematographer - July 2013 - Tournament of Death
American Cinematographer - July 2013 - 65
American Cinematographer - July 2013 - 66
American Cinematographer - July 2013 - 67
American Cinematographer - July 2013 - 68
American Cinematographer - July 2013 - 69
American Cinematographer - July 2013 - 70
American Cinematographer - July 2013 - 71
American Cinematographer - July 2013 - 72
American Cinematographer - July 2013 - 73
American Cinematographer - July 2013 - 74
American Cinematographer - July 2013 - 75
American Cinematographer - July 2013 - New Products & Services
American Cinematographer - July 2013 - 77
American Cinematographer - July 2013 - 78
American Cinematographer - July 2013 - 79
American Cinematographer - July 2013 - 80
American Cinematographer - July 2013 - 81
American Cinematographer - July 2013 - International Marketplace
American Cinematographer - July 2013 - Classified Ads
American Cinematographer - July 2013 - Ad Index
American Cinematographer - July 2013 - 85
American Cinematographer - July 2013 - Clubhouse News
American Cinematographer - July 2013 - 87
American Cinematographer - July 2013 - ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - Cover3
American Cinematographer - July 2013 - Cover4
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