American Cinematographer - July 2022 - 58

A MOVIE UNDER SIEGE
foremost about lighting the environment, relying on sources coming
through windows for a natural look and then tweaking them to suggest
different moods and times of day.
On The Offer, good results were occasionally achieved by happenstance.
One example is an early sequence set in Evans' spacious office,
which production designer Laurence Bennett and his team decorated
with dark furniture, parquet flooring, beige walls adorned with framed
movie posters, and a window with vertical blinds revealing a Translite of
a neighboring building on the Paramount lot.
Throughout the series, the honcho's office provides the backdrop for
plenty of sparring, studio politicking and drinking. As the crew prepared
to shoot on the set, an Arri Studio T12 Fresnel stood in an arbitrary position
behind a tree that had been placed outside a window; when the
crew turned it on just to provide a temporary work light, Totino found
that the light's angle was perfect for the scene. " The placement made it
look like late-afternoon sun, " he explains. " It's like you're on vacation,
it's five o'clock, you've had a couple of drinks - and you're laying by the
pool a little fuzzy - when you see warm sunlight peek through the trees
and create little shadows. That's what it felt like, and I just went with it. "
When skylight was desired, trusses were set up outside the room
to position Arri SkyPanel S360-C units; fill and eyelight were provided
from the floor with Astera Titan tubes diffused with Magic Cloth in
Snapbags.
Departing From the " Godfather Look "
Totino shot on the digital Sony Venice camera in 4K raw format, which
he used for the first time while shooting the forthcoming sci-fi thriller
65. Totino notes that he and Fletcher did not set out to imitate Willis'
work on The Godfather, which was shot partly on spherical Super Baltar
lenses and became famous for the cinematographer's inventive use of
toplight as a consistent motif throughout the picture. " There wasn't any
talk about emulating the 'Godfather look,' nor did I feel it would be the
right approach, " Totino says. " I wanted to shoot the film in the anamorphic
format with Hawk V-Lite lenses, which I also used on 65. I love them
because I like things to be a little 'off' sometimes. I love the quick falloff
in depth of field, and I embraced shooting with V-Lites more wide-open
so that there would be softness and banding on the edges, which creates
flare and makes the light react in different ways. "
Totino shot mostly at T3 on a 45mm lens, calling upon a 65mm for
58 / JULY 2022

American Cinematographer - July 2022

Table of Contents for the Digital Edition of American Cinematographer - July 2022

Contents
American Cinematographer - July 2022 - Cover1
American Cinematographer - July 2022 - Cover2
American Cinematographer - July 2022 - 1
American Cinematographer - July 2022 - Contents
American Cinematographer - July 2022 - 3
American Cinematographer - July 2022 - 4
American Cinematographer - July 2022 - 5
American Cinematographer - July 2022 - 6
American Cinematographer - July 2022 - 7
American Cinematographer - July 2022 - 8
American Cinematographer - July 2022 - 9
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American Cinematographer - July 2022 - 11
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American Cinematographer - July 2022 - 13
American Cinematographer - July 2022 - 14
American Cinematographer - July 2022 - 15
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American Cinematographer - July 2022 - 17
American Cinematographer - July 2022 - 18
American Cinematographer - July 2022 - 19
American Cinematographer - July 2022 - 20
American Cinematographer - July 2022 - 21
American Cinematographer - July 2022 - 22
American Cinematographer - July 2022 - 23
American Cinematographer - July 2022 - 24
American Cinematographer - July 2022 - 25
American Cinematographer - July 2022 - 26
American Cinematographer - July 2022 - 27
American Cinematographer - July 2022 - 28
American Cinematographer - July 2022 - 29
American Cinematographer - July 2022 - 30
American Cinematographer - July 2022 - 31
American Cinematographer - July 2022 - 32
American Cinematographer - July 2022 - 33
American Cinematographer - July 2022 - 34
American Cinematographer - July 2022 - 35
American Cinematographer - July 2022 - 36
American Cinematographer - July 2022 - 37
American Cinematographer - July 2022 - 38
American Cinematographer - July 2022 - 39
American Cinematographer - July 2022 - 40
American Cinematographer - July 2022 - 41
American Cinematographer - July 2022 - 42
American Cinematographer - July 2022 - 43
American Cinematographer - July 2022 - 44
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American Cinematographer - July 2022 - 46
American Cinematographer - July 2022 - 47
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American Cinematographer - July 2022 - 49
American Cinematographer - July 2022 - 50
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American Cinematographer - July 2022 - 54
American Cinematographer - July 2022 - 55
American Cinematographer - July 2022 - 56
American Cinematographer - July 2022 - 57
American Cinematographer - July 2022 - 58
American Cinematographer - July 2022 - 59
American Cinematographer - July 2022 - 60
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American Cinematographer - July 2022 - 65
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American Cinematographer - July 2022 - 67
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American Cinematographer - July 2022 - 71
American Cinematographer - July 2022 - 72
American Cinematographer - July 2022 - Cover3
American Cinematographer - July 2022 - Cover4
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