American Cinematographer - October 2015 - 38
*|*
Lighting Sicario's Opening Sequence
A
Top and middle: Kate brings Jennings (Victor Garber) into the cartel's safe house.
Bottom: This lighting diagram illustrates Deakins' rough plan for the interior.
38
October 2015
American Cinematographer
*|*
merican Cinematographer: During the
first sequence, Emily Blunt's character leads a SWAT team in a truck that
crashes into a house. Where did you
shoot the interiors?
Roger Deakins, ASC, BSC: The
scene is a mixture of shooting on location
and shooting on set. We had a location that
we really liked, but it was much more practical to just shoot the exteriors there, and to
shoot the interiors on a sound stage in
Albuquerque. We matched what was on
location as best we could on the set, but we
didn't have a big enough space to match it
completely, and it would have cost too
much in terms of space lights and rigging,
so we used false perspective to shorten
things. There was an exterior garden,
which was basically desert, and a falseperspective wall in front of a print backing,
which was a photograph of the location. So
we could actually shoot out of the livingroom windows, and there are a couple of
shots where you see a character outside.
The lighting diagram indicates the
lighting units that were used, and 65
space lights don't seem very many for this
day-exterior set.
Deakins: No, it's not very much
light, actually. I wish I'd had more, because
I would have liked to shoot at a higher stop.
But we were restricted by budget and we
couldn't set up a huge amount of light just
because I wanted to shoot at T5.6 instead
of T2.8.
The six T12 Fresnels provide spots
of hard sunlight inside the house, aimed
through the garden windows and three
skylights. Why did you use 12Ks instead
of, say, 20Ks?
Deakins: If you had 20Ks at that
distance, they wouldn't be quite as sharp
and they'd be a bit harder to control. The
T12 actually gives you almost as much light
as a 20K, and it's a smaller bulb and smaller
Fresnel lens - so it's very hard, very sharp
and very white as well. I had to calculate
the spread of the T12s: One lamp hit
where the truck crashes the wall, one
spread across the big living-room windows,
and the third lamp hit another room that
you see momentarily as the SWAT team
American Cinematographer - October 2015
Table of Contents for the Digital Edition of American Cinematographer - October 2015
Contents
American Cinematographer - October 2015 - Intro
American Cinematographer - October 2015 - Cover1
American Cinematographer - October 2015 - Cover2
American Cinematographer - October 2015 - 1
American Cinematographer - October 2015 - 2
American Cinematographer - October 2015 - Contents
American Cinematographer - October 2015 - 4
American Cinematographer - October 2015 - 5
American Cinematographer - October 2015 - 6
American Cinematographer - October 2015 - 7
American Cinematographer - October 2015 - 8
American Cinematographer - October 2015 - 9
American Cinematographer - October 2015 - 10
American Cinematographer - October 2015 - 11
American Cinematographer - October 2015 - 12
American Cinematographer - October 2015 - 13
American Cinematographer - October 2015 - 14
American Cinematographer - October 2015 - 15
American Cinematographer - October 2015 - 16
American Cinematographer - October 2015 - 17
American Cinematographer - October 2015 - 18
American Cinematographer - October 2015 - 19
American Cinematographer - October 2015 - 20
American Cinematographer - October 2015 - 21
American Cinematographer - October 2015 - 22
American Cinematographer - October 2015 - 23
American Cinematographer - October 2015 - 24
American Cinematographer - October 2015 - 25
American Cinematographer - October 2015 - 26
American Cinematographer - October 2015 - 27
American Cinematographer - October 2015 - 28
American Cinematographer - October 2015 - 29
American Cinematographer - October 2015 - 30
American Cinematographer - October 2015 - 31
American Cinematographer - October 2015 - 32
American Cinematographer - October 2015 - 33
American Cinematographer - October 2015 - 34
American Cinematographer - October 2015 - 35
American Cinematographer - October 2015 - 36
American Cinematographer - October 2015 - 37
American Cinematographer - October 2015 - 38
American Cinematographer - October 2015 - 39
American Cinematographer - October 2015 - 40
American Cinematographer - October 2015 - 41
American Cinematographer - October 2015 - 42
American Cinematographer - October 2015 - 43
American Cinematographer - October 2015 - 44
American Cinematographer - October 2015 - 45
American Cinematographer - October 2015 - 46
American Cinematographer - October 2015 - 47
American Cinematographer - October 2015 - 48
American Cinematographer - October 2015 - 49
American Cinematographer - October 2015 - 50
American Cinematographer - October 2015 - 50a
American Cinematographer - October 2015 - 50b
American Cinematographer - October 2015 - 51
American Cinematographer - October 2015 - 52
American Cinematographer - October 2015 - 53
American Cinematographer - October 2015 - 54
American Cinematographer - October 2015 - 55
American Cinematographer - October 2015 - 56
American Cinematographer - October 2015 - 57
American Cinematographer - October 2015 - 58
American Cinematographer - October 2015 - 59
American Cinematographer - October 2015 - 60
American Cinematographer - October 2015 - 61
American Cinematographer - October 2015 - 62
American Cinematographer - October 2015 - 63
American Cinematographer - October 2015 - 64
American Cinematographer - October 2015 - 65
American Cinematographer - October 2015 - 66
American Cinematographer - October 2015 - 67
American Cinematographer - October 2015 - 68
American Cinematographer - October 2015 - 69
American Cinematographer - October 2015 - 70
American Cinematographer - October 2015 - 71
American Cinematographer - October 2015 - 72
American Cinematographer - October 2015 - 73
American Cinematographer - October 2015 - 74
American Cinematographer - October 2015 - 75
American Cinematographer - October 2015 - 76
American Cinematographer - October 2015 - 77
American Cinematographer - October 2015 - 78
American Cinematographer - October 2015 - 79
American Cinematographer - October 2015 - 80
American Cinematographer - October 2015 - 81
American Cinematographer - October 2015 - 82
American Cinematographer - October 2015 - 83
American Cinematographer - October 2015 - 84
American Cinematographer - October 2015 - 85
American Cinematographer - October 2015 - 86
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American Cinematographer - October 2015 - 88
American Cinematographer - October 2015 - 89
American Cinematographer - October 2015 - 90
American Cinematographer - October 2015 - 91
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American Cinematographer - October 2015 - 93
American Cinematographer - October 2015 - 94
American Cinematographer - October 2015 - 95
American Cinematographer - October 2015 - 96
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American Cinematographer - October 2015 - Cover4
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