American Cinematographer - September 2019 - 58

Join Together
u With two cameras
ready to roll, the
cast and crew
prepare for a scene
depicting a gathering
of immigrants,
including Emma (q),
who have come
together to give
voice to their shared
plight.

"I felt that I wanted to have the finest
craftspeople, and if we had those people,
since we knew what we were doing, we
could compose beautiful images to tell a
story," Wagner says. "In my view, all
cameras are [essentially] 'boxes.' They are
created by manufacturers to accomplish a
high-speed, repeatable event accurately.
When people ask me, 'Does the technology
push you forward?' I always say, 'No - I
push the technology forward.' That's what
artists and filmmakers do."

58

September 2019

use neutral lenses, I could change the
colorimetry of scenes with the color of
the light I was using."
Wagner adds that "everything
was stylized" when it came to lighting the movie, in keeping with the
goal of presenting a richly surreal
version of events. "One thing I keep
saying is that the only [reality] is the
world within our little frame. That got
me excited - it meant my lighting
could be layered, and nothing had to
be presented as 'real.' Exteriors were
ASC 100th Anniversary

more gritty, gray and graphic than
reality, and that was accomplished by
using the 'wrong' color-temperature
light as a sort of counterpoint. I
always try to make a counterpoint
with my lighting. If we are in a 'cold'
area, I put a counterpoint of golden
light as a crosslight, so the audience
can see this is a counterpoint from
where we currently are."
And rather than rely on monitors, Wagner notes, "I relied on what I
had been taught to do my whole life
- light by eye. I was able to push the
camera sensor, and I think we got it
right." Indeed, Wagner relates that
during the final color grade -
performed by Rob Evans with
Blackmagic Design DaVinci Resolve
- at Technicolor in Toronto,
"Blackmagic engineers found no
aliasing issues, no color contamination, no crosstalk, or any problems
with color."
One of the tools that assisted
him in achieving such results, the
cinematographer reports, was a
Rawlight Optical Low Pass Filter
designed
specifically
for
the



American Cinematographer - September 2019

Table of Contents for the Digital Edition of American Cinematographer - September 2019

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