American Cinematographer - November 2016 - 55

◗

Connecting the Pieces
France. Some of these scenes were illuminated with hotter key lights, as was
the case for a high wide shot of the
assessment facility, which has a warm,
woody feel and a rainbow of colors in
its production design, suggestive of
childhood. This is juxtaposed with
flashbacks of a funeral, which have a
ghostly, desaturated look amplified by
Tiffen Glimmerglass 1 and 2 diffusion
filters.
In the French flashback, Chris'
dad parks their Peugeot in the rain and
Chris gets out of the car to fight his
tormentors under a bridge. The downbeat scene has an overriding cold-blue
look, which McGarvey recalls as "a
nightmare" to accomplish, given it was
shot on a sunny winter day. The scene
was staged in an old train depot below
street level, and the crew reduced the
sunlight with silks that were carefully
placed relative to the rain machine. For
the dialogue exchange inside the car,
Holmes recalls, "we used an 8-by-8
Light Grid frame with an 18K [aimed]
into it, and a 4K through a 4-by-4
frame of diffusion for an edge light."
For the exterior action they used
12'x12' black Duvetyn to curb the
bounce of sunlight off buildings and
create some contrast. Fortunately, the
sun eventually disappeared behind a
nearby building.
The aforementioned gun battle
transpires at Black's home, as Wolff
pursues a mysterious adversary ( Jon
Bernthal). The latter shuts off the
house lights to keep hidden, leaving
moonlight and gunfire as the principal
lighting motivations. The exterior wide
shots for this sequence were captured in
an affluent lakefront neighborhood
outside the city, while interiors and
tighter exteriors were handled in a
warehouse studio.
The cyan moonlight, which the
crew pushed inside the house through
windows, was produced by a half-dozen
tungsten soft boxes diffused with Full
Grid and directed with egg crates. Each
soft box was rigged with a pair of Arri
T12s gelled with 1⁄2 Blue and 1⁄4 Plus
Green. A number of exterior architec-

tural practicals - "such as recessed can
lights with spot bulbs," Holmes notes
- provided additional glow.
McGarvey explains, "I created highlights in there. I would light a wall a
stop under, but the foreground was
virtually silhouette."
Then there was the matter of
creating the muzzle flash from the
guns. "We tried a couple of different
things, including strobes, but wound up

going with practical flashes supplied by
the special-effects department,"
Holmes recalls. "They were functioning
prop guns."
The scene's low-light style necessitated a couple of days of additional
photography. "In our handheld chaos
- which was essential to shooting the
scene - the audience couldn't always
figure out what was happening,"
McGarvey explains. "Our editor, Rick


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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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