American Cinematographer - September 2015 - 32
Top: Adi's children play with jumping beans. Middle: At the children's school, the teacher propagates the
rhetoric that paints the victims of the 1965 massacres as evildoing "communists." Bottom: Adi's mother,
Rohani, rests her weary body.
32
September 2015
American Cinematographer
of Silence, when Adi interviews others
about their memories, the filmmakers shot
with two Sony PMW-EX1s fitted with the
camera's proprietary Fujinon Professional
HD ½" 14x lens. When Adi is with his
parents, or in scenes of the parents
together, the single camera largely
captures them in two-shot, while shotreverse-shot is the general setup for the
two-camera interview scenes. In this way,
says Skree, "we created a dynamic
between the interviews and the intimate,
close feeling we get with his mother and
father." The EX1 recorded files in Sony's 8bit Long-GOP MPEG-2 codec with 4:2:0
color sampling onto SxS cards at 35 Mbps.
Shooting the scenes of Adi
confronting some of the men responsible
for the deaths of his brother and others
was not without peril. "We had a car waiting for Adi to run away if someone made
a threat," recalls the cinematographer,
who adds that, fortunately, the getaway
car was never needed.
Out of necessity, the crew was minimal on these excursions, so in terms of
camera and lighting, "I was doing most of
it myself," Skree says. "Sometimes I moved
to the other camera to check that the operator got the desired framing. When I
worked with the EX1, I always opened the
aperture to around f1.6, to get shallow
depth of field and a focal-length equivalent
to 50mm on Super 35."
Because they had already experienced being filmed by Oppenheimer, the
men sat patiently while Skree set up the
shots. "It would take about 45 minutes,"
he says. "We always made a soft start -
'What a nice house,' and so on." The two
EX1s were set up to film Adi and his interviewee simultaneously. "Normally when
you're using two cameras, you're shooting
the same direction, so it's easier to control
the lighting," the cinematographer continues. "It's always a challenge when you
have two cameras to have a reverse shot
where you're not getting flat [images]. I
spent a lot of time placing the lighting so
we had some kind of form and shape on
the face. I hate flat pictures."
Skree traveled with two 1x1 BiColor LED panels from Litepanels. "They
make a nice, soft light and are easy to carry
around," he says, adding that he felt a
American Cinematographer - September 2015
Table of Contents for the Digital Edition of American Cinematographer - September 2015
Contents
American Cinematographer - September 2015 - Intro
American Cinematographer - September 2015 - Cover1
American Cinematographer - September 2015 - Cover2
American Cinematographer - September 2015 - 1
American Cinematographer - September 2015 - 2
American Cinematographer - September 2015 - Contents
American Cinematographer - September 2015 - 4
American Cinematographer - September 2015 - 5
American Cinematographer - September 2015 - 6
American Cinematographer - September 2015 - 7
American Cinematographer - September 2015 - 8
American Cinematographer - September 2015 - 9
American Cinematographer - September 2015 - 10
American Cinematographer - September 2015 - 11
American Cinematographer - September 2015 - 12
American Cinematographer - September 2015 - 13
American Cinematographer - September 2015 - 14
American Cinematographer - September 2015 - 15
American Cinematographer - September 2015 - 16
American Cinematographer - September 2015 - 17
American Cinematographer - September 2015 - 18
American Cinematographer - September 2015 - 19
American Cinematographer - September 2015 - 20
American Cinematographer - September 2015 - 21
American Cinematographer - September 2015 - 22
American Cinematographer - September 2015 - 23
American Cinematographer - September 2015 - 24
American Cinematographer - September 2015 - 25
American Cinematographer - September 2015 - 26
American Cinematographer - September 2015 - 27
American Cinematographer - September 2015 - 28
American Cinematographer - September 2015 - 29
American Cinematographer - September 2015 - 30
American Cinematographer - September 2015 - 31
American Cinematographer - September 2015 - 32
American Cinematographer - September 2015 - 33
American Cinematographer - September 2015 - 34
American Cinematographer - September 2015 - 35
American Cinematographer - September 2015 - 36
American Cinematographer - September 2015 - 37
American Cinematographer - September 2015 - 38
American Cinematographer - September 2015 - 39
American Cinematographer - September 2015 - 40
American Cinematographer - September 2015 - 41
American Cinematographer - September 2015 - 42
American Cinematographer - September 2015 - 43
American Cinematographer - September 2015 - 44
American Cinematographer - September 2015 - 45
American Cinematographer - September 2015 - 46
American Cinematographer - September 2015 - 47
American Cinematographer - September 2015 - 48
American Cinematographer - September 2015 - 49
American Cinematographer - September 2015 - 50
American Cinematographer - September 2015 - 51
American Cinematographer - September 2015 - 52
American Cinematographer - September 2015 - 53
American Cinematographer - September 2015 - 54
American Cinematographer - September 2015 - 55
American Cinematographer - September 2015 - 56
American Cinematographer - September 2015 - 57
American Cinematographer - September 2015 - 58
American Cinematographer - September 2015 - 59
American Cinematographer - September 2015 - 60
American Cinematographer - September 2015 - 61
American Cinematographer - September 2015 - 62
American Cinematographer - September 2015 - 63
American Cinematographer - September 2015 - 64
American Cinematographer - September 2015 - 64a
American Cinematographer - September 2015 - 64b
American Cinematographer - September 2015 - 64c
American Cinematographer - September 2015 - 64d
American Cinematographer - September 2015 - 64e
American Cinematographer - September 2015 - 64f
American Cinematographer - September 2015 - 64g
American Cinematographer - September 2015 - 64h
American Cinematographer - September 2015 - 65
American Cinematographer - September 2015 - 66
American Cinematographer - September 2015 - 67
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American Cinematographer - September 2015 - 70
American Cinematographer - September 2015 - 71
American Cinematographer - September 2015 - 72
American Cinematographer - September 2015 - 73
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American Cinematographer - September 2015 - 76
American Cinematographer - September 2015 - 77
American Cinematographer - September 2015 - 78
American Cinematographer - September 2015 - 79
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American Cinematographer - September 2015 - 81
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American Cinematographer - September 2015 - Cover3
American Cinematographer - September 2015 - Cover4
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