American Cinematographer - September 2010 - 32

Above: Braier and director Claudia Llosa at work. Right: 1st AD Pol Rodriguez steadies Solier as Braier prepares to shoot, assisted by focus puller Álvaro Fernández.

Because Peru’s nascent motionpicture industry focuses mainly on commercials, Braier rented her camera gear, a Moviecam Compact MK2 and a set of Zeiss Ultra Primes, from Servicevision in Barcelona. (The production’s lighting package was rented from Muvi Centro in Lima.) The Moviecam was used as the A camera (with Braier operating) and for Steadicam work. Braier notes that her favorite prime lenses are the Cooke S4s, but she was concerned they might be a bit too soft for the hazy conditions she noticed in Lima during preproduction. “We were told Lima was always like that, so I chose the Ultra Primes instead, but when we arrived a month later for the shoot, there was no mist and no haze — and there wasn’t for the entire six weeks of the shoot!” she says. Shooting in the standard 1.85:1 aspect ratio, Braier used two Kodak Vision2
32 September 2010

stocks, 500T 5218 and 200T 5217, because she felt “the Kodak palette is well suited to the [vibrant] colors of Peru.” The production’s footage was processed locally, and dailies “were very basic, one-light telecines on DVCam tapes,” notes Braier. The final photochemical color timing and printing were done at Deluxe Laboratories in Barcelona. One of the biggest lighting setups was a scene early in the film, when Fausta realizes her mother has died. The mother is lying in bed, and Fausta sits beside her, leaning in so that their faces almost touch. “Fausta steps out of frame, and we cut to a wider shot that reveals her standing near the foot of the bed, smoothing out the sheets,” explains Braier. “She is framed by a large picture window behind her. As she tends to the bed, the camera dollies in slowly. In the moment that she realizes her
American Cinematographer

mother has died, we are on a medium shot of Fausta. We no longer see the frame of the window; the cityscape appears to be directly behind her. “The whole idea of this shot was to represent what is going to happen in the film,” continues the cinematographer. “At the beginning of the story, Fausta is living with her mother in a hermetic world, and now that her mother is dead, she will have to venture outside, and because of the way we frame her at the end of that shot, she actually appears to be outside.” In order to avoid overexposing the view outside the window, Braier had to maintain a high light level inside; she had two18Ks positioned on stands outside the window and bounced into frames of white material. “For a budget like ours, the 18Ks were a real luxury,” she acknowledges. “The exposure was around T16, but I was lighting her quite silhouetted — her face was probably 2 stops under, and her quarter-backlight 1½ to 2 stops over. All was reduced with NDs to T4, the stop at which I shot most of the film.” For scenes that Fausta shares with Aida, Braier often made use of mirrors or other reflective surfaces to present Fausta as only a reflection, like a ghost with no physical substance. The first time she enters Aida’s room, she is dimly reflected in an old photograph of a soldier, and at the end of the film, when she returns to the room to retrieve her pearls, she is again reflected in the photograph, but her image is more defined, suggesting that she is stronger emotionally. “The level of clarity is quite similar in both shots, but Fausta’s reflection stands out a bit more the second time because she is wearing a bright blue dress, so there is more color separation,” notes Braier. “Also, the room is in darkness the second time, which makes the framed photograph more of a mirror.” One of Braier’s favorite shots takes place in a large theater where Aida gives a piano recital. Fausta is sitting in the dressing room — we see her reflected in the mirror — when she hears a familiar melody. The camera continues shooting into the mirror as Fausta stands and leaves the room. Then there’s a cut to a three-minute Steadicam shot of Fausta walking down a series of hallways toward the stage; the camera is in



American Cinematographer - September 2010

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

American Cinematographer - September 2010
Contents
Editor’s Note
President’s Desk
Short Takes: Alexa “World Cup” demo
Production Slate: Eat Pray Love • The Milk of Sorrow
Mob Money (Boardwalk Empire)
War Horses (The Expendables)
A Beatle’s Upbringing (Nowhere Boy)
Romans on the Run (Centurion)
Where Cinematography Lives (ASC Clubhouse Renovation)
Post Focus: Lottery Ticket
Filmmakers’ Forum: David McFarland on Black Tulip
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - American Cinematographer - September 2010
American Cinematographer - September 2010 - Cover2
American Cinematographer - September 2010 - 1
American Cinematographer - September 2010 - 2
American Cinematographer - September 2010 - Contents
American Cinematographer - September 2010 - 4
American Cinematographer - September 2010 - 5
American Cinematographer - September 2010 - 6
American Cinematographer - September 2010 - 7
American Cinematographer - September 2010 - Editor’s Note
American Cinematographer - September 2010 - 9
American Cinematographer - September 2010 - President’s Desk
American Cinematographer - September 2010 - 11
American Cinematographer - September 2010 - Short Takes: Alexa “World Cup” demo
American Cinematographer - September 2010 - 13
American Cinematographer - September 2010 - 14
American Cinematographer - September 2010 - 15
American Cinematographer - September 2010 - 16
American Cinematographer - September 2010 - 17
American Cinematographer - September 2010 - Production Slate: Eat Pray Love • The Milk of Sorrow
American Cinematographer - September 2010 - 19
American Cinematographer - September 2010 - 20
American Cinematographer - September 2010 - 21
American Cinematographer - September 2010 - 22
American Cinematographer - September 2010 - 23
American Cinematographer - September 2010 - 24
American Cinematographer - September 2010 - 25
American Cinematographer - September 2010 - 26
American Cinematographer - September 2010 - 27
American Cinematographer - September 2010 - 28
American Cinematographer - September 2010 - 29
American Cinematographer - September 2010 - 30
American Cinematographer - September 2010 - 31
American Cinematographer - September 2010 - 32
American Cinematographer - September 2010 - 33
American Cinematographer - September 2010 - Mob Money (Boardwalk Empire)
American Cinematographer - September 2010 - 35
American Cinematographer - September 2010 - 36
American Cinematographer - September 2010 - 37
American Cinematographer - September 2010 - 38
American Cinematographer - September 2010 - 39
American Cinematographer - September 2010 - 40
American Cinematographer - September 2010 - 41
American Cinematographer - September 2010 - 42
American Cinematographer - September 2010 - 43
American Cinematographer - September 2010 - 44
American Cinematographer - September 2010 - 45
American Cinematographer - September 2010 - 46
American Cinematographer - September 2010 - 47
American Cinematographer - September 2010 - 48
American Cinematographer - September 2010 - 49
American Cinematographer - September 2010 - War Horses (The Expendables)
American Cinematographer - September 2010 - 51
American Cinematographer - September 2010 - 52
American Cinematographer - September 2010 - 53
American Cinematographer - September 2010 - 54
American Cinematographer - September 2010 - 55
American Cinematographer - September 2010 - 56
American Cinematographer - September 2010 - 57
American Cinematographer - September 2010 - 58
American Cinematographer - September 2010 - 59
American Cinematographer - September 2010 - 60
American Cinematographer - September 2010 - 61
American Cinematographer - September 2010 - 62
American Cinematographer - September 2010 - 63
American Cinematographer - September 2010 - A Beatle’s Upbringing (Nowhere Boy)
American Cinematographer - September 2010 - 65
American Cinematographer - September 2010 - 66
American Cinematographer - September 2010 - 67
American Cinematographer - September 2010 - 68
American Cinematographer - September 2010 - 69
American Cinematographer - September 2010 - 70
American Cinematographer - September 2010 - 71
American Cinematographer - September 2010 - 72
American Cinematographer - September 2010 - 73
American Cinematographer - September 2010 - Romans on the Run (Centurion)
American Cinematographer - September 2010 - 75
American Cinematographer - September 2010 - 76
American Cinematographer - September 2010 - 77
American Cinematographer - September 2010 - 78
American Cinematographer - September 2010 - 79
American Cinematographer - September 2010 - 80
American Cinematographer - September 2010 - 81
American Cinematographer - September 2010 - Where Cinematography Lives (ASC Clubhouse Renovation)
American Cinematographer - September 2010 - 83
American Cinematographer - September 2010 - 84
American Cinematographer - September 2010 - 85
American Cinematographer - September 2010 - Post Focus: Lottery Ticket
American Cinematographer - September 2010 - 87
American Cinematographer - September 2010 - 88
American Cinematographer - September 2010 - 89
American Cinematographer - September 2010 - Filmmakers’ Forum: David McFarland on Black Tulip
American Cinematographer - September 2010 - 91
American Cinematographer - September 2010 - 92
American Cinematographer - September 2010 - 93
American Cinematographer - September 2010 - New Products & Services
American Cinematographer - September 2010 - 95
American Cinematographer - September 2010 - 96
American Cinematographer - September 2010 - 97
American Cinematographer - September 2010 - 98
American Cinematographer - September 2010 - 99
American Cinematographer - September 2010 - 100
American Cinematographer - September 2010 - 101
American Cinematographer - September 2010 - 102
American Cinematographer - September 2010 - 103
American Cinematographer - September 2010 - International Marketplace
American Cinematographer - September 2010 - Classified Ads/Ad Index
American Cinematographer - September 2010 - 106
American Cinematographer - September 2010 - 107
American Cinematographer - September 2010 - ASC Membership Roster
American Cinematographer - September 2010 - 109
American Cinematographer - September 2010 - Clubhouse News
American Cinematographer - September 2010 - 111
American Cinematographer - September 2010 - ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - Cover3
American Cinematographer - September 2010 - Cover4
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