American Cinematographer - December 2013 - 32
Did you have to make any special
lighting considerations because you
were working with an all-black cast?
Michos: On a studio feature, the
mandate is to make the cast look as good as
possible. An all-black cast means the range
of skin tones is quite broad, whereas the
luminance value of white skin falls within a
fairly narrow spectrum. I shot much of the
picture in cool light, but I didn't go warmer
or cooler because of a skin tone. It was
always about what the scene required, and
then I would light the actor in a way that
emphasized the emotion of that moment.
Was there a go-to keylight configuration?
Michos: Our talented gaffer, Bob
Sciretta, and I were more concerned about
the quality of the light than we were about
specific lighting instruments. The camera
only knows the quality of light, and you can
achieve that many different ways, whether
it's with rows of LEDs mounted on foamcore,
a Chinese lantern, or a bounce with a Leko.
Because 95 percent of our work was done
on locations, we chose many of our lights
just because they happened to physically fit
in the location. On location you have to be a
little more creative about figuring out where
to place a light because you can't rip out a
wall. I like to use those limitations as starting
points. If I can't pull the wall out, what can I
do that will look interesting?
Describe a location where you
had to get creative because of limited
space.
Michos: We shot Langston waking
up in his Baltimore row house practically, in a
6-by-10-foot bedroom. Much of the look
was down to practical lighting, and I had a
great collaboration with our set designer,
Diane Liederman. We put a green shade
over the window because I wanted half the
room to have a cool feel, and because it was
Christmas season, we had a string of Christmas-tree lights hanging from the wall. I lit
the space with a 6K HMI bounce through a
window and a dimmed Chinese lantern. I
don't know if I would've done it that way
had the room been bigger.
What was your largest location?
Michos: The church, which was built
in the early 1800s. It seats about 400 people.
We were not allowed to touch the walls or
hang any kind of grid. In the film, the grand-
Top: Acamera/Steadicam
operator Gerard
Sava films
Whitaker in the
church. Middle:
Langston, Aretha
(Angela Bassett),
Naima and Rev.
Cobbs join the
church choir.
Bottom: A Louma
2 crane
maneuvers the
camera to capture
the celebration.
32
December 2013
American Cinematographer
American Cinematographer - December 2013
Table of Contents for the Digital Edition of American Cinematographer - December 2013
Contents
American Cinematographer - December 2013 - Cover1
American Cinematographer - December 2013 - Cover2
American Cinematographer - December 2013 - Contents
American Cinematographer - December 2013 - 2
American Cinematographer - December 2013 - 3
American Cinematographer - December 2013 - 4
American Cinematographer - December 2013 - 5
American Cinematographer - December 2013 - 6
American Cinematographer - December 2013 - 7
American Cinematographer - December 2013 - 8
American Cinematographer - December 2013 - 9
American Cinematographer - December 2013 - 10
American Cinematographer - December 2013 - 11
American Cinematographer - December 2013 - 12
American Cinematographer - December 2013 - 13
American Cinematographer - December 2013 - 14
American Cinematographer - December 2013 - 15
American Cinematographer - December 2013 - 16
American Cinematographer - December 2013 - 17
American Cinematographer - December 2013 - 18
American Cinematographer - December 2013 - 19
American Cinematographer - December 2013 - 20
American Cinematographer - December 2013 - 21
American Cinematographer - December 2013 - 22
American Cinematographer - December 2013 - 23
American Cinematographer - December 2013 - 24
American Cinematographer - December 2013 - 25
American Cinematographer - December 2013 - 26
American Cinematographer - December 2013 - 27
American Cinematographer - December 2013 - 28
American Cinematographer - December 2013 - 29
American Cinematographer - December 2013 - 30
American Cinematographer - December 2013 - 31
American Cinematographer - December 2013 - 32
American Cinematographer - December 2013 - 33
American Cinematographer - December 2013 - 34
American Cinematographer - December 2013 - 35
American Cinematographer - December 2013 - 36
American Cinematographer - December 2013 - 37
American Cinematographer - December 2013 - 38
American Cinematographer - December 2013 - 39
American Cinematographer - December 2013 - 40
American Cinematographer - December 2013 - 41
American Cinematographer - December 2013 - 42
American Cinematographer - December 2013 - 43
American Cinematographer - December 2013 - 44
American Cinematographer - December 2013 - 45
American Cinematographer - December 2013 - 46
American Cinematographer - December 2013 - 47
American Cinematographer - December 2013 - 48
American Cinematographer - December 2013 - 49
American Cinematographer - December 2013 - 50
American Cinematographer - December 2013 - 51
American Cinematographer - December 2013 - 52
American Cinematographer - December 2013 - 53
American Cinematographer - December 2013 - 54
American Cinematographer - December 2013 - 55
American Cinematographer - December 2013 - 56
American Cinematographer - December 2013 - 57
American Cinematographer - December 2013 - 58
American Cinematographer - December 2013 - 59
American Cinematographer - December 2013 - 60
American Cinematographer - December 2013 - 61
American Cinematographer - December 2013 - 62
American Cinematographer - December 2013 - 63
American Cinematographer - December 2013 - 64
American Cinematographer - December 2013 - S-1
American Cinematographer - December 2013 - S-2
American Cinematographer - December 2013 - S-3
American Cinematographer - December 2013 - S-4
American Cinematographer - December 2013 - S-5
American Cinematographer - December 2013 - S-6
American Cinematographer - December 2013 - S-7
American Cinematographer - December 2013 - S-8
American Cinematographer - December 2013 - S-9
American Cinematographer - December 2013 - S-10
American Cinematographer - December 2013 - S-11
American Cinematographer - December 2013 - S-12
American Cinematographer - December 2013 - 65
American Cinematographer - December 2013 - 66
American Cinematographer - December 2013 - 67
American Cinematographer - December 2013 - 68
American Cinematographer - December 2013 - 69
American Cinematographer - December 2013 - 70
American Cinematographer - December 2013 - 71
American Cinematographer - December 2013 - 72
American Cinematographer - December 2013 - 73
American Cinematographer - December 2013 - 74
American Cinematographer - December 2013 - 75
American Cinematographer - December 2013 - 76
American Cinematographer - December 2013 - 77
American Cinematographer - December 2013 - 78
American Cinematographer - December 2013 - 79
American Cinematographer - December 2013 - 80
American Cinematographer - December 2013 - 81
American Cinematographer - December 2013 - 82
American Cinematographer - December 2013 - 83
American Cinematographer - December 2013 - 84
American Cinematographer - December 2013 - 85
American Cinematographer - December 2013 - 86
American Cinematographer - December 2013 - 87
American Cinematographer - December 2013 - 88
American Cinematographer - December 2013 - 89
American Cinematographer - December 2013 - 90
American Cinematographer - December 2013 - 91
American Cinematographer - December 2013 - 92
American Cinematographer - December 2013 - 93
American Cinematographer - December 2013 - 94
American Cinematographer - December 2013 - 95
American Cinematographer - December 2013 - 96
American Cinematographer - December 2013 - 97
American Cinematographer - December 2013 - 98
American Cinematographer - December 2013 - 99
American Cinematographer - December 2013 - 100
American Cinematographer - December 2013 - 101
American Cinematographer - December 2013 - 102
American Cinematographer - December 2013 - 103
American Cinematographer - December 2013 - 104
American Cinematographer - December 2013 - 105
American Cinematographer - December 2013 - 106
American Cinematographer - December 2013 - 107
American Cinematographer - December 2013 - 108
American Cinematographer - December 2013 - 109
American Cinematographer - December 2013 - 110
American Cinematographer - December 2013 - 111
American Cinematographer - December 2013 - 112
American Cinematographer - December 2013 - 113
American Cinematographer - December 2013 - 114
American Cinematographer - December 2013 - 115
American Cinematographer - December 2013 - 116
American Cinematographer - December 2013 - Cover3
American Cinematographer - December 2013 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com