American Cinematographer - December 2014 - 34

A car partial
and the camera
were mounted
on a rotisserie
rig, allowing the
car and camera
to rotate in
tandem for a
car-accident
scene.

for the lighting aesthetic to complement
the desaturated colors. "She doesn't like
color in light," Ladczuk says. "She wanted
one color temperature. In my previous
movies, I really liked to use gels on the
lamps; to her, that is a modern light. I
34

December 2014

decided to create an old feeling through
contrast and by the level of light rather than
through color temperature. It was very
strange for me, but I treated it as a challenge."
Ladczuk focused on lighting the
American Cinematographer

actors' faces rather than keeping the backgrounds lit. The resulting look pulls and
isolates the actors in the composition,
particularly within the dark and dreary
Victorian house. "I wanted the light to look
natural at the beginning," he explains. "The
further we got in the plot, the harder and
more surreal and expressive I wanted the
light to be, because the light was motivated
by fear. I avoided using light softeners so as
to bring more expression to an actor's face,
especially in night scenes."
In lighting the house interior,
Ladczuk preferred HMI sources, such as Pars
and Fresnels ranging from 200 watts up to
a 12K, because of better color reproduction, though he had to make some exceptions. "Sometimes we didn't have enough
light sources to cover our set," he says. "For
example, Amelia's bedroom was covered by
HMI lighting, but the hall, living room,
dining room and kitchen were covered with
tungsten lighting for night scenes. I used
windows as the main source of light, but for
all night scenes I had two huge white
sections of fabric for ceilings and used tungsten fixtures on dimmers to generate delicate, soft light from the top. I regulated the
intensity depending on circumstances, used
fill light from the floor and lit curtains from
the outside."
Ladczuk purposefully allowed the
windows to blow out during day scenes
because the production could not afford
TransLites or backdrops.
Artfully contrasting with the cold
Victorian interiors was the basement, where
Amelia keeps her dead husband's belongings - and her memories of him, as best
she can manage - locked away. The basement was a real location as opposed to a
constructed set, and although Ladczuk lit it
in the same manner as the house interiors,
warmer tones pervaded due to the influence of the red brick walls.
Other real locations included the
nursing home where Amelia works. "We
tried to reduce the color palette," says
Ladczuk, "but it was impossible to remove
all of those elements and we ended up with
pastel colors. Location always inspires, and
that is why the light is different - softer
and paler. We tried to add black elements in
every frame just to create contrast. In the
doctor's office, we removed all [existing]



American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
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American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
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American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
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American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
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American Cinematographer - December 2014 - 43
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American Cinematographer - December 2014 - 109
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