American Cinematographer - October 2015 - 78
◗
Desperate Times
fluorescent, the light just scatters all over
the walls, which were already quite
bright. Once you put a grid under it, like
an egg crate, it focuses the light downward and the fluorescent becomes a
more directional light. We spent a lot of
time online looking at types of fluorescents; I worked with Kelly and the set
decorator to find the right one. [We
decided upon] GE Warm White
3,000K T12 20-watt bulbs. I'm really
enjoying lighting with practical lights
with the Alexa. Often a big part of that
is selecting the proper fixture.
In Rampart and The Messenger,
you lit 360 degrees because of the way
Oren Moverman worked at the time
- handheld, with no rehearsals or
blocking. You weren't privy to actordirector conversations, so as camera
operator you just responded to the
action as it happened. How did Time
Out of Mind compare?
Bukowski: At the beginning of
each film, Oren says, 'We learned this
and that from the last film. Now, let's
forget it.' There were still no rehearsals,
but it was much easier because they're
static frames. Camera placement was
certainly more deliberate. We visited
and revisited the locations and did our
shot planning on set, so those frames
became quite specific.
I would still light a room so that
when we had a turnaround, we could
easily move to that setup. I never like to
Top: Nash
(Andrew
Garfield), a
construction
worker, loses his
job and home.
Middle:
Bukowski
checks the
camera on set.
Bottom: Nash
goes to work
for Carver to
help get his
family's home
back.
78
October 2015
American Cinematographer
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
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American Cinematographer - October 2015 - 26
American Cinematographer - October 2015 - 27
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American Cinematographer - October 2015 - 49
American Cinematographer - October 2015 - 50
American Cinematographer - October 2015 - 50a
American Cinematographer - October 2015 - 50b
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American Cinematographer - October 2015 - 53
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American Cinematographer - October 2015 - 78
American Cinematographer - October 2015 - 79
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