American Cinematographer - December 2014 - 36

Top: The main set,
comprising the
interiors of
Amelia's home,
were shot at
Adelaide Studios in
South Australia.
Bottom: Ladczuk
(behind the
camera), writerdirector Jennifer
Kent (on the floor
to the right) and
crew shoot a scene
focused on Samuel.

elements and added some black lamps and
a black table just to have contrast.
"Green also was not acceptable to
Jennifer," he adds. "For example, the scene
in the city park [of Amelia and her sister on
a bench] has a very strange camera angle.
At eye level, we had a lot of green background, which she hated. Instead, the
camera angle is really high. In the end, I
grew to like it."
Postproduction facility Kojo in
Adelaide handled the color grading, with
visual-effects supervisor and DI colorist
Marty Pepper at the wheel. Originally,
Ladczuk tried to link Kojo with post houses
in Warsaw so that he could observe
36

December 2014

Pepper's work onscreen. "After a few days
of trying, I realized it wasn't going to
happen with the low-budget situation, so I
just bought a ticket and flew to Adelaide,"
he says. "For me, it is important to finish the
movie with the colorist. The contrast and
colors are very important to me, and also,
this is my work."
It turned out that the color-grading
process was relatively quick. "I was
surprised with how good the colors were in
the rough cut," the cinematographer says.
"In the beginning, Marty fixed contrast and
made one contrast layer, then focused on
the alabaster skin tone for Amelia. At the
end, he focused on colors like the greens
American Cinematographer

and yellows, working with keys to fix our
color palette and reduce unnecessary
colors. After three days, he had those layers.
"I really like his style of work; it was
a very good experience for me," Ladczuk
continues. "Before, I was more focused on
finding proper style - focusing on one or
two scenes instead of the movie as a whole.
Marty's work [takes into account] layers for
the whole movie, and it's a very fast style.
After about five days, you can show the
final product to a producer, and if you have
more time, you can focus on details."
With a slight re-size, The Babadook
was mastered into a DCP format in 2K resolution.
"The level of professionalism on this
movie was really high," Ladczuk concludes,
"and I was really lucky with the amazing
Australian crew. For example, the key grip,
Mike Smith, had everything on his truck.
From a Polish perspective, that was something new for me!"

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa
Arri/Zeiss Master Prime

‚óŹ



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
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
American Cinematographer - December 2014 - 32
American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
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
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
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American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
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American Cinematographer - December 2014 - 55
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American Cinematographer - December 2014 - 60
American Cinematographer - December 2014 - 61
American Cinematographer - December 2014 - 62
American Cinematographer - December 2014 - 63
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American Cinematographer - December 2014 - 65
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American Cinematographer - December 2014 - 67
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American Cinematographer - December 2014 - 71
American Cinematographer - December 2014 - 72
American Cinematographer - December 2014 - 73
American Cinematographer - December 2014 - 74
American Cinematographer - December 2014 - 75
American Cinematographer - December 2014 - 76
American Cinematographer - December 2014 - 77
American Cinematographer - December 2014 - 78
American Cinematographer - December 2014 - 79
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American Cinematographer - December 2014 - 82
American Cinematographer - December 2014 - 83
American Cinematographer - December 2014 - 84
American Cinematographer - December 2014 - 85
American Cinematographer - December 2014 - 86
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American Cinematographer - December 2014 - 89
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American Cinematographer - December 2014 - 91
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American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
American Cinematographer - December 2014 - 110
American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
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