American Cinematographer - August 2018 - 42

◗

Family Torment
Young Camille
(Sophia Lillis)
and her
younger sister
Marian (Lulu
Wilson) run
toward the
family home.
Exteriors of
the Victorian
mansion were
shot at a
private
residence in
Redwood
Valley, Calif.

two teenage girls - whom we soon
learn are young Camille (Sophia Lillis)
and her younger sister Marian (Lulu
Wilson) - roller-skate through a small
town and turn onto a road that takes
them through the woods to a mansion
on the town's outskirts; sometimes the
camera leads them, and sometimes it
follows them. The girls approach the
house and push the front door open to
go inside, where they climb the stairs to
the second floor and find the adult
Camille asleep in her bedroom. As one
of them touches Camille's hand,
Camille wakes in the present day in her
St. Louis apartment.
42

August 2018

Some shots of the girls on the
veranda were shot on location, and
others were captured onstage. "I've been
doing this for 42 years, and even I was
impressed by that set," says gaffer James
Crawford. "We could see out any
window on either floor, and we could
shoot from anywhere on the porch
toward the house. When we put greens
outside, we could actually shoot on the
porch, like we did when the girls rollerskated up to the front door."
Vallée acknowledges he "was not
a fan of this whole idea of shooting the
house interiors onstage - it's not our
thing - but we had to do it for practical
American Cinematographer

reasons, and Yves managed to make it
look so real. When we cut from the real
location to the interior, it matches seamlessly; we don't notice we're onstage.
Yves had complete control over every
light, of course, and he had to be very
creative to make it look so simple. And
he still gave me and the actors the ability
to move 360 degrees inside without
seeing any lights or flags."
Bélanger says some of his most
anxious moments during the shoot were
shots linking the mansion's interior and
exterior - specifically, shots and
reverses of characters interacting at the
front door. "The actor outside was shot
at the location, and the reverse was shot
a month or two later at the studio," he
says, "and, of course, they had to match.
It was kind of scary, but I'm quite happy
with the way it turned out."
Crawford and his crew spent six
weeks lighting the set. In addition to
illuminating the Translite, this work
focused on windows and practicals,
wiring every light to dimmers, and
making sure every practical light switch
was functional. "We had to resist lighting it too much just because we could,"
says Bélanger. "I didn't want to use lighting that wouldn't be in the real location."



Table of Contents for the Digital Edition of American Cinematographer - August 2018

Contents
American Cinematographer - August 2018 - Cover1
American Cinematographer - August 2018 - Cover2
American Cinematographer - August 2018 - 1
American Cinematographer - August 2018 - 2
American Cinematographer - August 2018 - Contents
American Cinematographer - August 2018 - 4
American Cinematographer - August 2018 - 5
American Cinematographer - August 2018 - 6
American Cinematographer - August 2018 - 7
American Cinematographer - August 2018 - 8
American Cinematographer - August 2018 - 9
American Cinematographer - August 2018 - 10
American Cinematographer - August 2018 - 11
American Cinematographer - August 2018 - 12
American Cinematographer - August 2018 - 13
American Cinematographer - August 2018 - 14
American Cinematographer - August 2018 - 15
American Cinematographer - August 2018 - 16
American Cinematographer - August 2018 - 17
American Cinematographer - August 2018 - 18
American Cinematographer - August 2018 - 19
American Cinematographer - August 2018 - 20
American Cinematographer - August 2018 - 21
American Cinematographer - August 2018 - 22
American Cinematographer - August 2018 - 23
American Cinematographer - August 2018 - 24
American Cinematographer - August 2018 - 24a
American Cinematographer - August 2018 - 24b
American Cinematographer - August 2018 - 25
American Cinematographer - August 2018 - 26
American Cinematographer - August 2018 - 27
American Cinematographer - August 2018 - 28
American Cinematographer - August 2018 - 29
American Cinematographer - August 2018 - 30
American Cinematographer - August 2018 - 31
American Cinematographer - August 2018 - 32
American Cinematographer - August 2018 - 33
American Cinematographer - August 2018 - 34
American Cinematographer - August 2018 - 35
American Cinematographer - August 2018 - 36
American Cinematographer - August 2018 - 37
American Cinematographer - August 2018 - 38
American Cinematographer - August 2018 - 39
American Cinematographer - August 2018 - 40
American Cinematographer - August 2018 - 41
American Cinematographer - August 2018 - 42
American Cinematographer - August 2018 - 43
American Cinematographer - August 2018 - 44
American Cinematographer - August 2018 - 45
American Cinematographer - August 2018 - 46
American Cinematographer - August 2018 - 47
American Cinematographer - August 2018 - 48
American Cinematographer - August 2018 - 49
American Cinematographer - August 2018 - 50
American Cinematographer - August 2018 - 51
American Cinematographer - August 2018 - 52
American Cinematographer - August 2018 - 53
American Cinematographer - August 2018 - 54
American Cinematographer - August 2018 - 55
American Cinematographer - August 2018 - 56
American Cinematographer - August 2018 - 57
American Cinematographer - August 2018 - 58
American Cinematographer - August 2018 - 59
American Cinematographer - August 2018 - 60
American Cinematographer - August 2018 - 61
American Cinematographer - August 2018 - 62
American Cinematographer - August 2018 - 63
American Cinematographer - August 2018 - 64
American Cinematographer - August 2018 - 65
American Cinematographer - August 2018 - 66
American Cinematographer - August 2018 - 67
American Cinematographer - August 2018 - 68
American Cinematographer - August 2018 - 69
American Cinematographer - August 2018 - 70
American Cinematographer - August 2018 - 71
American Cinematographer - August 2018 - 72
American Cinematographer - August 2018 - 73
American Cinematographer - August 2018 - 74
American Cinematographer - August 2018 - 75
American Cinematographer - August 2018 - 76
American Cinematographer - August 2018 - 77
American Cinematographer - August 2018 - 78
American Cinematographer - August 2018 - 79
American Cinematographer - August 2018 - 80
American Cinematographer - August 2018 - Cover3
American Cinematographer - August 2018 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac0524
https://www.nxtbook.com/nxtbooks/ac/ac0424
https://www.nxtbook.com/nxtbooks/ac/ac0324
https://www.nxtbook.com/nxtbooks/ac/ac0224
https://www.nxtbook.com/nxtbooks/ac/ac0124
https://www.nxtbook.com/nxtbooks/ac/ac1223
https://www.nxtbook.com/nxtbooks/ac/ac1123
https://www.nxtbook.com/nxtbooks/ac/ac1023
https://www.nxtbook.com/nxtbooks/ac/ac0923
https://www.nxtbook.com/nxtbooks/ac/ac0823
https://www.nxtbook.com/nxtbooks/ac/ac0723
https://www.nxtbook.com/nxtbooks/ac/ac0623
https://www.nxtbook.com/nxtbooks/ac/ac0523
https://www.nxtbook.com/nxtbooks/ac/ac0423
https://www.nxtbook.com/nxtbooks/ac/ac0323
https://www.nxtbook.com/nxtbooks/ac/ac0223
https://www.nxtbook.com/nxtbooks/ac/ac0123
https://www.nxtbook.com/nxtbooks/ac/ac1222
https://www.nxtbook.com/nxtbooks/ac/ac1122
https://www.nxtbook.com/nxtbooks/ac/ac1022
https://www.nxtbook.com/nxtbooks/ac/ac0922
https://www.nxtbook.com/nxtbooks/ac/ac0822
https://www.nxtbook.com/nxtbooks/ac/ac0722
https://www.nxtbook.com/nxtbooks/ac/ac0622
https://www.nxtbook.com/nxtbooks/ac/ac0522
https://www.nxtbook.com/nxtbooks/ac/ac0422
https://www.nxtbook.com/nxtbooks/ac/ac0322
https://www.nxtbook.com/nxtbooks/ac/ac0222
https://www.nxtbook.com/nxtbooks/ac/ac0122
https://www.nxtbook.com/nxtbooks/ac/ac1221
https://www.nxtbook.com/nxtbooks/ac/ac1121
https://www.nxtbook.com/nxtbooks/ac/ac1021
https://www.nxtbook.com/nxtbooks/ac/ac0921
https://www.nxtbook.com/nxtbooks/ac/ac0821
https://www.nxtbook.com/nxtbooks/ac/ac0721
https://www.nxtbook.com/nxtbooks/ac/ac0621
https://www.nxtbook.com/nxtbooks/ac/ac0521
https://www.nxtbook.com/nxtbooks/ac/ac0421
https://www.nxtbook.com/nxtbooks/ac/ac0321
https://www.nxtbook.com/nxtbooks/ac/ac0221
https://www.nxtbook.com/nxtbooks/ac/ac0121
https://www.nxtbook.com/nxtbooks/ac/ac1220
https://www.nxtbook.com/nxtbooks/ac/ac1020
https://www.nxtbook.com/nxtbooks/ac/ac0920
https://www.nxtbook.com/nxtbooks/ac/ac0820
https://www.nxtbook.com/nxtbooks/ac/ac0720
https://www.nxtbook.com/nxtbooks/ac/ac0620
https://www.nxtbook.com/nxtbooks/ac/ac0520
https://www.nxtbook.com/nxtbooks/ac/ac0420
https://www.nxtbook.com/nxtbooks/ac/ac0320
https://www.nxtbook.com/nxtbooks/ac/ac0220
https://www.nxtbook.com/nxtbooks/ac/ac0120
https://www.nxtbook.com/nxtbooks/ac/ac1219
https://www.nxtbook.com/nxtbooks/ac/ac1119
https://www.nxtbook.com/nxtbooks/ac/ac1019
https://www.nxtbook.com/nxtbooks/ac/ac0919
https://www.nxtbook.com/nxtbooks/ac/ac0819
https://www.nxtbook.com/nxtbooks/ac/ac0719
https://www.nxtbook.com/nxtbooks/ac/ac0619
https://www.nxtbook.com/nxtbooks/ac/ac0519
https://www.nxtbook.com/nxtbooks/ac/ac0419
https://www.nxtbook.com/nxtbooks/ac/ac0319
https://www.nxtbook.com/nxtbooks/ac/ac0219_v2
https://www.nxtbook.com/nxtbooks/ac/ac0219
https://www.nxtbook.com/nxtbooks/ac/ac0119_v2
https://www.nxtbook.com/nxtbooks/ac/ac0119
https://www.nxtbook.com/nxtbooks/ac/ac1218
https://www.nxtbook.com/nxtbooks/ac/ac1118
https://www.nxtbook.com/nxtbooks/ac/ac1018
https://www.nxtbook.com/nxtbooks/ac/ac0918
https://www.nxtbook.com/nxtbooks/ac/ac0818
https://www.nxtbook.com/nxtbooks/ac/ac0718
https://www.nxtbook.com/nxtbooks/ac/ac0618
https://www.nxtbook.com/nxtbooks/ac/ac0518
https://www.nxtbook.com/nxtbooks/ac/ac0418
https://www.nxtbook.com/nxtbooks/ac/ac0318
https://www.nxtbook.com/nxtbooks/ac/ac0218
https://www.nxtbook.com/nxtbooks/ac/ac0118
https://www.nxtbook.com/nxtbooks/ac/ac1217
https://www.nxtbook.com/nxtbooks/ac/ac1117
https://www.nxtbook.com/nxtbooks/ac/ac1017
https://www.nxtbook.com/nxtbooks/ac/ac0917
https://www.nxtbook.com/nxtbooks/ac/ac0817
https://www.nxtbook.com/nxtbooks/ac/ac0717
https://www.nxtbook.com/nxtbooks/ac/ac0617
https://www.nxtbook.com/nxtbooks/ac/ac0517
https://www.nxtbook.com/nxtbooks/ac/ac0417
https://www.nxtbook.com/nxtbooks/ac/ac0317
https://www.nxtbook.com/nxtbooks/ac/ac0217
https://www.nxtbook.com/nxtbooks/ac/ac0117
https://www.nxtbook.com/nxtbooks/ac/ac1216
https://www.nxtbook.com/nxtbooks/ac/ac1116
https://www.nxtbook.com/nxtbooks/ac/ac1016
https://www.nxtbook.com/nxtbooks/ac/ac0916
https://www.nxtbook.com/nxtbooks/ac/ac0816
https://www.nxtbook.com/nxtbooks/ac/ac0716
https://www.nxtbook.com/nxtbooks/ac/ac0616
https://www.nxtbook.com/nxtbooks/ac/ac0516
https://www.nxtbook.com/nxtbooks/ac/ac0416
https://www.nxtbook.com/nxtbooks/ac/ac0316
https://www.nxtbook.com/nxtbooks/ac/ac0216
https://www.nxtbook.com/nxtbooks/ac/ac0116
https://www.nxtbook.com/nxtbooks/ac/ac1215
https://www.nxtbook.com/nxtbooks/ac/ac1115
https://www.nxtbook.com/nxtbooks/ac/ac1015
https://www.nxtbook.com/nxtbooks/ac/ac0915
https://www.nxtbook.com/nxtbooks/ac/ac0815
https://www.nxtbook.com/nxtbooks/ac/ac0715
https://www.nxtbook.com/nxtbooks/ac/ac0615
https://www.nxtbook.com/nxtbooks/ac/ac0515
https://www.nxtbook.com/nxtbooks/ac/ac0415
https://www.nxtbook.com/nxtbooks/ac/ac0315
https://www.nxtbook.com/nxtbooks/ac/ac0215
https://www.nxtbook.com/nxtbooks/ac/ac0115
https://www.nxtbookmedia.com