American Cinematographer - August 2018 - 48

◗

Family Torment

Bélanger operates the camera for a scene in which Adora visits Bob Nash (Will Chase, left) and
his kids - the family of the first murder victim.

listening, or do I go to him talking, or do
I go to the dog barking? He has to be
good technically, but he also has to have
a sensibility about storytelling. It's rare.
Focus is a tough job; you have to be in

48

your bubble, but you also have to know
the story and make a decision. When it
works, Jean-Marc is so happy, but when
it doesn't, oh, my god!
"Working with Jean-Marc is

controlled chaos," adds Bélanger. "It's
spontaneous, but at the same time, he
likes beautiful frames. He's very precise
about framing, but he has to find it in
the moment. He has to see it to know if
it will work."
Bélanger shot Sharp Objects with
an Arri Alexa Mini, capturing in
ArriRaw and applying the camera's 3D
LUT to view images in Rec 709. He
chose Arri/Zeiss Master Primes, often
shooting wide open at T1.3, and used
polarizers and the camera's internal ND
filters. "For night scenes I was usually at
ISO 800 without the pola, and sometimes I was at ISO 1,600 on night interiors without the pola. For bright day
scenes, I was often at ISO 100, 160 or
250."
Most of the picture was shot with
a 35mm lens. "The great Robert
Bresson said the 50mm best represented
the human point of view, but for me and
Jean-Marc, it's the 35mm," says
Bélanger. "With other directors I might



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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
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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
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American Cinematographer - August 2018 - 79
American Cinematographer - August 2018 - 80
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