American Cinematographer - August 2010 - 29

world of Salt taking on a somewhat stylized theatricality — the story, which is essentially a character-driven drama with a somewhat unbelievable premise, seemed to demand a slightly theatrical approach. This allowed me to try to find a lighting style that, though somewhat realistic, could also be shamelessly flattering to the actors, allowing them to look as attractive as possible even when bruised, cut and covered in blood. What that meant in practical terms is that very often the character lighting would dictate the set lighting. Luckily for me, the actor playing Salt was Angelina Jolie. “In modern films, trying to maintain flattering lighting throughout a realistic drama can be a tricky road to go down,” continues Elswit. “At best it can dictate the entire look of a film and compromise every lighting setup; at worst the actor can appear as if he or she is in a different movie from everyone else. For all the actors, we tried to find a way to blend a kind of movie-star lighting with a theatrical realism that I hoped would not contradict or call attention to itself.” Over the course of the film, Elswit gradually altered the quality of light he used on Jolie to underscore her character’s predicament. “I started with a bright frontal or ¾-frontal light on her, and then, as the story progresses, we begin to see her in half-light or backlight, or she’s keyed by light bouncing off the floor, creating stronger shadows and more contrast,” he says. “We actually found that putting Angie in half-light with strong contrast made her look even more striking. We never had to compromise the way the scenes looked or felt when we were lighting her. As long as I stayed away from toplight, the harsher and more unusual the angle, the more expressive the results.” Elswit acknowledges that a stunt-heavy thriller such as Salt looks a bit anomalous among his recent credits, which include Duplicity, There Will Be Blood (AC Jan.’08) and Michael Clayton, and he defers much of the credit for

Opposite: When her CIA colleagues accuse her of being a double agent, covert operative Evelyn Salt (Angelina Jolie) must go on the run. This page, top: Salt examines subway blueprints as she wends her way through the service tunnels. Bottom: New York’s finest arrest Salt, but the filmmakers took creative liberty by cuffing her hands in front, a breach of normal police procedure that enables her to make an escape.

Unit photography by Andrew Schwartz, SMPSP and David Griesbrecht, courtesy of Sony Pictures.

www.theasc.com

August 2010

29


http://www.theasc.com

American Cinematographer - August 2010

Table of Contents for the Digital Edition of American Cinematographer - August 2010

The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
Features
Cat and Mouse (Salt)
Girl Trouble (Pilgrim vs. the World)
A Magical Manhattan (The Sorcerer’s Apprentice)
True Colors (Get Low)
Departments
Editor’s Note
President’s Desk
Short Takes: Quiksilver ad campaign
Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
Post Focus: True Blood Workflow
Filmmakers’ Forum: Steven Fierberg, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
American Cinematographer - August 2010 - Cover2
American Cinematographer - August 2010 - 1
American Cinematographer - August 2010 - 2
American Cinematographer - August 2010 - 3
American Cinematographer - August 2010 - 4
American Cinematographer - August 2010 - 5
American Cinematographer - August 2010 - 6
American Cinematographer - August 2010 - 7
American Cinematographer - August 2010 - Editor’s Note
American Cinematographer - August 2010 - 9
American Cinematographer - August 2010 - President’s Desk
American Cinematographer - August 2010 - 11
American Cinematographer - August 2010 - Short Takes: Quiksilver ad campaign
American Cinematographer - August 2010 - 13
American Cinematographer - August 2010 - 14
American Cinematographer - August 2010 - 15
American Cinematographer - August 2010 - Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
American Cinematographer - August 2010 - 17
American Cinematographer - August 2010 - 18
American Cinematographer - August 2010 - 19
American Cinematographer - August 2010 - 20
American Cinematographer - August 2010 - 21
American Cinematographer - August 2010 - 22
American Cinematographer - August 2010 - 23
American Cinematographer - August 2010 - 24
American Cinematographer - August 2010 - 25
American Cinematographer - August 2010 - 26
American Cinematographer - August 2010 - 27
American Cinematographer - August 2010 - Cat and Mouse (Salt)
American Cinematographer - August 2010 - 29
American Cinematographer - August 2010 - 30
American Cinematographer - August 2010 - 31
American Cinematographer - August 2010 - 32
American Cinematographer - August 2010 - 33
American Cinematographer - August 2010 - 34
American Cinematographer - August 2010 - 35
American Cinematographer - August 2010 - 36
American Cinematographer - August 2010 - 37
American Cinematographer - August 2010 - 38
American Cinematographer - August 2010 - 39
American Cinematographer - August 2010 - 40
American Cinematographer - August 2010 - 41
American Cinematographer - August 2010 - Girl Trouble (Pilgrim vs. the World)
American Cinematographer - August 2010 - 43
American Cinematographer - August 2010 - 44
American Cinematographer - August 2010 - 45
American Cinematographer - August 2010 - 46
American Cinematographer - August 2010 - 47
American Cinematographer - August 2010 - 48
American Cinematographer - August 2010 - 49
American Cinematographer - August 2010 - 50
American Cinematographer - August 2010 - 51
American Cinematographer - August 2010 - 52
American Cinematographer - August 2010 - 53
American Cinematographer - August 2010 - 54
American Cinematographer - August 2010 - 55
American Cinematographer - August 2010 - A Magical Manhattan (The Sorcerer’s Apprentice)
American Cinematographer - August 2010 - 57
American Cinematographer - August 2010 - 58
American Cinematographer - August 2010 - 59
American Cinematographer - August 2010 - 60
American Cinematographer - August 2010 - 61
American Cinematographer - August 2010 - 62
American Cinematographer - August 2010 - 63
American Cinematographer - August 2010 - 64
American Cinematographer - August 2010 - 65
American Cinematographer - August 2010 - 66
American Cinematographer - August 2010 - 67
American Cinematographer - August 2010 - True Colors (Get Low)
American Cinematographer - August 2010 - 69
American Cinematographer - August 2010 - 70
American Cinematographer - August 2010 - 71
American Cinematographer - August 2010 - 72
American Cinematographer - August 2010 - 73
American Cinematographer - August 2010 - 74
American Cinematographer - August 2010 - 75
American Cinematographer - August 2010 - Post Focus: True Blood Workflow
American Cinematographer - August 2010 - 77
American Cinematographer - August 2010 - 78
American Cinematographer - August 2010 - 79
American Cinematographer - August 2010 - Filmmakers’ Forum: Steven Fierberg, ASC
American Cinematographer - August 2010 - 81
American Cinematographer - August 2010 - New Products & Services
American Cinematographer - August 2010 - 83
American Cinematographer - August 2010 - 84
American Cinematographer - August 2010 - 85
American Cinematographer - August 2010 - 86
American Cinematographer - August 2010 - 87
American Cinematographer - August 2010 - 88
American Cinematographer - August 2010 - 89
American Cinematographer - August 2010 - International Marketplace
American Cinematographer - August 2010 - Classified Ads
American Cinematographer - August 2010 - Ad Index
American Cinematographer - August 2010 - 93
American Cinematographer - August 2010 - Clubhouse News
American Cinematographer - August 2010 - 95
American Cinematographer - August 2010 - ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - Cover3
American Cinematographer - August 2010 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com