American Cinematographer - August 2013 - 22

Lucas tries to reclaim his place in the
community. “For me, the most precious
moment in this film is the church,” says
Vinterberg. “That, and the dinner party at
the beginning, with all the hunters. Those
are the two warm, beating hearts the film
couldn’t have lived without.”
“The first idea was to use real
candles, but instead, we lit it very simply,
with very small lights,” Christensen says of
the church scene. Electric candles were
placed on pews, pilasters and candelabras.
Outside the nave windows, a 4-bank Kino
Flo suggested a hint of moonlight. “Some
filmmakers might have floated a lighting
balloon for overall ambience, but we have
no ambience,” notes Christensen. “We
used some Redheads with Chimeras in a
low position to bolster some of the candlelight.” When the children’s choir enters, two
2K Blondes rigged overhead make them the
brightest spot in the church.
To light Lucas alone in his pew, Christensen employed a Par can. “We needed
him to be in the spotlight, but subtly, so I
placed the light behind him, making a soft
but very intense rim. It’s not a natural feel.”
Christensen’s favorite scene comes
just before that, and it’s as elemental as they
get. Lucas is home alone in the dark, after
he’s been beaten up. Christensen recalls,
“The script just said, ‘He sits in a dark room.’
It’s a very important moment, but how do
you express that?” Ultimately, two shots
create this empathetic scene: an extreme
close-up of one battered eye, and a wider
shot of him in the dark, isolated at the edge
of the frame. “It’s a very simple scene, but I
just love it,” she says. She credits Vinterberg
with “getting these moments that sit so
right. It’s not a big setup or elaborate action,
but just a very intense moment. He can
create that.”
She notes that Vinterberg is also a
singular collaborator. “He’s very good at
getting the best out of people. He lets you
work, lets you do what you’re best at.
That’s when you perform.”

From top: The
school’s principal
(Susse Wold)
questions Klara
(Annika
Wedderkopp) about
her interactions with
Lucas; Lucas’ fellow
teacher and
romantic interest,
Nadja (Alexandra
Rapaport), offers
emotional support;
Christensen and
director Thomas
Vinterberg discuss
their next shot
on location.

ness of the blue light was important for
both day and night situations,” she says.
“We never intended hard moonlight, but
rather a ‘no-light’ night situation.” When
Lucas and his dog are awakened by a sound
outside, for instance, she bounced an HMI
22

August 2013

through two layers of diffusion. “He goes a
little silhouetted against the windows, using
that one source. Very often, one-source
lighting is what I like.”
The film’s most elaborate setup was
the candlelit Christmas Eve service, when
American Cinematographer

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus
Cooke and Fujinon

➣



American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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