American Cinematographer - September 2015 - 76

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Lost and Found

Top: Smugglers lead a group of displaced children through a cave, the beginning of a journey to
reunite the children with family members in Aleppo. Middle: Mahmut leads Bedo and Maryam
through the same cave. This shot was lit solely by the match, which the filmmakers had
specially made for the film.

tion to see this dust," he continues. "It
was impossible to take any lights into
this valley, so our lighting chief
[bounced the sunlight] with mirrors."
This sequence marks the culmination of
what Perdeci describes as the "shinier"
lighting of the happy period. "When
[the grownups] are gone," he notes, the
visuals become "more depressed."
When the children return from
the dovecote, they find the entire village
devoid of life. Taking Bacik with them,
Bedo and Maryam go in search of their
mother, setting off into the countryside,
where they sleep under the stars and
forage for what sustenance they can
find. One morning, Bedo wakes early
76

September 2015

and goes exploring, only to be discovered by soldiers who place him in the
care of a nearby farmer. All alone now,
Maryam hides in a horse cart that
belongs to Mahmut (Ahmet Uz), who
discovers her when he returns to the
orphanage where he works.
The siblings reunite when
Maryam joins Mahmut on an errand
that takes them past the farm where
Bedo works in the field. To capture
Bedo's point of view as he sees Maryam,
key grip Mustafa Boduroglu's crew laid
approximately 100 meters of dolly track
parallel to the path Mahmut's cart
would travel, and the production's
MovieTech Magnum dolly, operated by
American Cinematographer

Soner Soysal, was pushed at speed with
the moving cart. Perdeci was on the
dolly with the camera, which was fitted
with a 300mm Cooke S4. "That was a
difficult shot for focus," he offers.
Bedo joins Maryam at the
orphanage, but
as
Christmas
approaches, the siblings sneak away to
return home, convinced that their
mother will be there for the holiday.
They arrive at the house at night and
find it alive with light in the windows
and smoke billowing out of the chimneys. The shot structure echoes the
house's first appearance: The home is
first seen in a wide, locked-off shot, and
then a cut takes the camera handheld,
following the children as they run
toward the front door.
"We wanted to make it very
magical," says Alyamac, a feeling that is
bolstered by gently falling snow. Not
unlike the film's candles, a great deal of
research went into getting just the right
snow for the scene. "We didn't like [the
snow produced by] snow machines,"
says Alyamac. "But we watched Ernst
Lubitsch's The Shop Around the Corner,
and it had the perfect snow. We wrote to
places in Hollywood to ask their opinions, and we sent them the scene."
Ultimately, they found a comparable snow that's made from the same
paper that goes into baby diapers, and
they were able to find a company in
Turkey that could provide the material.
"They cut it up for us, and we put it in
big sacks and brought it [to the house
location]," Alyamac continues. "With
three cherry pickers, we threw the snow
by hand." Each cherry picker was also
equipped with a fan to help spread the
falling flakes.
Another cherry picker held a 6K
HMI Fresnel, which provided the base
ambience for the exterior, while small
tungsten units were placed inside the
house for a warm glow from the
windows. Perdeci also placed a 1.2K
HMI on top of a building behind the
house in order to backlight the chimney
smoke. "The smoke of the chimney was
very important to make it like
Christmastime," he explains.



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
American Cinematographer - September 2015 - 68
American Cinematographer - September 2015 - 69
American Cinematographer - September 2015 - 70
American Cinematographer - September 2015 - 71
American Cinematographer - September 2015 - 72
American Cinematographer - September 2015 - 73
American Cinematographer - September 2015 - 74
American Cinematographer - September 2015 - 75
American Cinematographer - September 2015 - 76
American Cinematographer - September 2015 - 77
American Cinematographer - September 2015 - 78
American Cinematographer - September 2015 - 79
American Cinematographer - September 2015 - 80
American Cinematographer - September 2015 - 81
American Cinematographer - September 2015 - 82
American Cinematographer - September 2015 - 83
American Cinematographer - September 2015 - 84
American Cinematographer - September 2015 - 85
American Cinematographer - September 2015 - 86
American Cinematographer - September 2015 - 87
American Cinematographer - September 2015 - 88
American Cinematographer - September 2015 - 89
American Cinematographer - September 2015 - 90
American Cinematographer - September 2015 - 91
American Cinematographer - September 2015 - 92
American Cinematographer - September 2015 - 93
American Cinematographer - September 2015 - 94
American Cinematographer - September 2015 - 95
American Cinematographer - September 2015 - 96
American Cinematographer - September 2015 - 97
American Cinematographer - September 2015 - 98
American Cinematographer - September 2015 - 99
American Cinematographer - September 2015 - 100
American Cinematographer - September 2015 - 101
American Cinematographer - September 2015 - 102
American Cinematographer - September 2015 - 103
American Cinematographer - September 2015 - 104
American Cinematographer - September 2015 - 105
American Cinematographer - September 2015 - 106
American Cinematographer - September 2015 - 107
American Cinematographer - September 2015 - 108
American Cinematographer - September 2015 - 109
American Cinematographer - September 2015 - 110
American Cinematographer - September 2015 - 111
American Cinematographer - September 2015 - 112
American Cinematographer - September 2015 - 113
American Cinematographer - September 2015 - 114
American Cinematographer - September 2015 - 115
American Cinematographer - September 2015 - 116
American Cinematographer - September 2015 - 117
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American Cinematographer - September 2015 - 120
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