American Cinematographer - November 2016 - 18

The paranoid
Lorne confronts
a lone traveler.

the campsite was a battery-powered Kino
Flo Celeb dimmed to 24 percent, with 216
diffusion on the barn doors and pushed
through a 4'x4' frame of 216. We rigged 14
Kino tubes, wrapped in double 250 diffusion, on tree branches outside of frame to
punctuate key areas of the action and to
emulate soft moonlight spilling through the
forest canopy. A four-bank Kino Flo served
as a kicker on Pearce, which we diffused for
close-ups. We also placed one M18 HMI
deep in the background to give an edge to
the foliage, and another to rake through the
forest. Other, smaller lights - reading 3-5
stops under key - were placed deep in the
background for added depth in a 360degree move. Additionally, a Robe Fog 1500
FT smoke machine fitted with two 30m-long
and 400mm-wide lay-flat tubes provided an
even spread of subtle atmosphere.
John Sanders' special-effects team
worked with the art department to dig two
flame bars into the set so I could control the
levels and placement of our firelight. This
was supplemented with gold stipple, which
Savige nimbly edged into the negative side
during each take, helping to wrap the firelight around Pearce's face. We shot the night
exterior with three Zeiss Super Speed Mark
III primes - 18mm, 50mm and 85mm -
and for each focal length, we let the entire
13-minute scene play out in one complete
take. We therefore had to adjust the intensity of the firelight over the course of each
take, and Sanders had to rig the gas cylinders 15m away from the flame bars, which
introduced a delay in our onscreen adjustments, requiring precise timing and forethought.
18

November 2016

Because the forest scene is entirely
from the visitor's point of view, the camera
had to be a character and, as I was operating, my "performance" had to include
subtle cues and reactions. Pearce and I
quickly found a rhythm with our 13-minute
takes. I enjoyed this "dance," and I was
constantly impressed with 1st AC Austin
Haigh's ability to keep things sharp as we
jumped over bushes and other obstacles
while reacting instinctively to Pearce's performance. I shot at a stop of T2, and we used
the shallow depth of field and occasional
dips in focus to our advantage, underscoring
the main character's loose grasp on reality.
After testing, we decided to shoot at
5K resolution and 5:1 compression, recording to RedMag SSDs. We set the Epic's ISO
to 1,280 for the night scene and the
camera's native 800 for the day scene. We
were amazed at how little noise we saw in
the night footage and found there was no
need to apply any de-noising in post.
We chose to frame for the 2.39:1
aspect ratio because we liked the way it
places a single character in an environment,
lending emptiness and a sense of encroaching danger - room for paranoia - to the
frame. And we opted for spherical because
we didn't want the weight, stop limitations
and depth of field inherent to anamorphic. I
also particularly like the softness and
reduced contrast the Super Speed lenses
deliver when paired with digital formats; we
further molded character into the image
with a range of Tiffen Digital Diffusion/FX
filters, which enhanced the painterly look I
wanted.
We sought a slightly aged palette of
American Cinematographer

desaturated greens and golds, which would
ground the short in an earthy tone and place
Lorne within the environment as if he had
become part of it. We treated the footage
very lightly in the grade, as much of the look
was achieved in-camera. Working with
Blackmagic Design's DaVinci Resolve,
Rafferty delicately executed the subtle
nuances we sought. For the campfire scene,
I referenced some of Laszlo Kovacs, ASC's
work on Easy Rider, but overall the look was
inspired by a painting called "The Sheepfold,
Moonlight," by Jean-François Millet. The
moonlight in the painting has a glowing,
pearlescent quality to it that really resonated
with me.
Although our means were limited -
as they always are on a short project - our
crew in all departments were exceptional,
and realizing our shared vision within our
limitations was every bit as exhilarating as it
was challenging. It was also a pleasure
collaborating with Leaman and Pearce; we
all trusted and pushed each other to find the
truth in the scene. Creativity blesses a set
when like-minded people come together to
craft a story that you hope will resonate with
an audience. I truly believe that on-set
atmosphere translates to magic in the frame.
This project had a unique vision from the
outset, and seeing it realized on the big
screen recently was an extremely rewarding
experience. It was a great honor to be a part
of.
The trailer for Lorne can be viewed at
https://vimeo.com/leamanfilms/lornetrailer.
●


https://www.vimeo.com/leamanfilms/lornetrailer

American Cinematographer - November 2016

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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