American Cinematographer - November 2016 - 58
◗
Connecting the Pieces
Top: Director Gavin O'Connor (kneeling at table) discusses a scene with Affleck and actor Jeffrey
Tambor (portraying Francis Silverberg). Middle: Affleck, Tambor and crew film another scene set
in a correctional facility. Bottom: McGarvey studies the scene as O'Connor discusses the action
with actors J.K. Simmons (second from left, portraying Ray King) and Cynthia Addai-Robinson
(seated at right, portraying Marybeth Medina).
58
November 2016
American Cinematographer
dimmer system - lighting the trees.
The gaffer calls this setup "as low-tech
as it gets."
Another key location was the
Georgia Institute of Technology, where
the crew set up for a week toward the
end of the shoot, and which provided
the exterior pedestrian walkways and
interior lab settings for Black's robotics
facility. "It's one of those locations you
just have to get into and adapt for your
own purposes," McGarvey says.
"They're tricky when you're on a
timescale and have to shoot day and
night in one spot, and either control
ambient daylight or create daylight
when [the sun disappears]."
A montage sequence shot at
Georgia Tech shows Wolff in a monochromatic boardroom, methodically
laying out boxes of documents on a
long black table, poring over the
company's accounts, and writing out his
calculations on a glass wall. O'Connor
wanted quick cuts as Wolff puts the
pieces together. Lighting options were
limited, as the space had only 9' ceilings. "There were pin spots in the ceiling, but no actor would want to see
themselves lit with those, so Keith
Cunningham designed soft boxes that
felt like real practical lights," McGarvey
recalls, adding that they were designed
for on-screen use and can be seen
clearly in many shots.
The three soft boxes employed in
the sequence were each approximately
8'x4', and contained rows of LiteGear
Hybrid LED VHO Pro LiteRibbon
that were spaced 4" apart and situated
above a milk Plexiglas bottom. "That
created this fantastic ambient soft key
over the table," the cinematographer
adds. "Those lights are controllable and
dimmable, so we could intensify them
when we had to fight the daylight or
dim them down when it was a lowerkey scenario."
Whiteboards at opposite ends of
the room were lit from behind with 4'
Kino Flo tubes to provide definition
between the boards and white walls. A
foyer outside the boardroom had a huge
window, and the light penetrating it
Table of Contents for the Digital Edition of American Cinematographer - November 2016
Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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