American Cinematographer - August 2013 - 71

to reach a window for a camera position
or to rig some lights.” Gaffer Tom
Hynes placed several 1,800-watt and
4K fixtures gelled with ¼ CTS on three
terraces. A few Kino Flos on stands
inside provided fill. “We weren’t able to
use bigger sources because we were
dependent on the available electricity,”
notes Fiorilli. “Our generator truck
couldn’t enter the city because it wouldn’t fit through the city gate.”
A daytime scene of the Imam’s
bodyguards roughing up Jaafari takes
place at a bazaar, but Fiorilli wanted the
characters silhouetted, so the action
takes place in a short tunnel, with light
visible on both ends of the enclosure.
“We ran a bit late in the schedule, and
when we got there, the light was almost
gone. We were wide open, but we
needed two more stops. In the grade, we
had a bit of difficulty because it was such
low light.”
Silhouettes figure into several
scenes. One takes place at Jaafari’s house
in Tel Aviv, when his nephew Adel
(Karim Saleh) stops by one night.
Unbeknownst to his uncle, Adel is also
a follower of the radical Imam and knew
of Siham’s plans. As he opens the front
door and welcomes Adel, Amin is lit
from behind, placing him and Adel in
silhouette. “I wanted it to feel warm and
inviting when Adel arrives,” says Fiorilli.
The golden light from practicals
suggests a close, friendly feeling that is
actually in sharp contrast to Adel’s
duplicitous actions. “I always try to cut
the light from the front of the camera so
the actors are backlit or sidelit,” continues the cinematographer. “When I light
a face, it is to see the emotion. If you
don’t need to see that, I don’t put a light
on the face. For me, cutting the light is
putting an accent on what is essential.”
Corresponding via e-mail, Israeli
gaffer Lior Peri notes, “Tommaso’s preference for no front light of any kind was
a difficult one for me at first, but I
discovered quickly how good it looks.”
Adding to the sense of warmth in
Jaafari’s home were the yellow walls.
Fiorilli notes that they were actually
light brown, but graded to look more

Top and middle: After observing tensions at a Palestinian checkpoint, Jaafari is driven to meet with his
wife’s grandfather. Bottom: Doueiri works out a scene with crewmembers.

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August 2013

71



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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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