American Cinematographer - December 2017 - 94

◗

Timeless Romance
lighting, and we lit almost the whole
movie with prototype LED units." This
newer lighting technology enabled the
crew to forgo generators for the production's car work in favor of using batteries
directly on the fixtures, which cut down
considerably on setup time. "If the call
time was 8 a.m., we were ready to shoot
at 9:30 a.m.," Goldblatt enthuses.
For wide night exteriors, the crew
still rigged conventional lamps - mostly
20K Fresnels - on condors for crossand backlight. "We used generators all
the time in the studio and on location,"
the cinematographer explains, "but small
LED accents were used with batteries. It
was just so fast to be able to tape up a
small LED with its own battery. I should
give a special mention to Sophie
Shellenberger, who was our lighting
technician on set and who built and
rigged wonderful little lights for us with
remote controllers."
During prep, Mathis worked
closely with Al DeMayo, president and
CEO at LED lighting company
LiteGear. "Steve was looking for something new that could allow for a streamlined lighting workflow," DeMayo
recalls. "We settled on the first prototype
of LiteTile, which is a flexible fabricbased light source that is super-thin and
inherently soft, allowing for the placement of a light source in otherwise difficult positions, especially on location."
The LiteTile, Goldblatt adds, "was
particularly helpful in cars. Redford's a
very good driver and was confident that
he could drive and act simultaneously,
and the roads were controlled and empty,
so I was able to use these flat LED panels
that I could control from the back of the
truck, watching live. I could make them
brighter or darker and I could change the
color temperature according to the
natural light. That meant everything to
not only the crew but the actors - I
think they liked that they didn't have
endless hours of waiting while I fiddled
with this light and that camera, and so on
and so forth."
Citing an example of the lighting
setup's versatility, Goldblatt points to a
nighttime driving scene near the end of

Top: Addie and
Louis decide to
share a bed.
Above:
Goldblatt and
crew prep the
bedroom set.
Right: LiteGear
LiteMat LED
units were
used in the
bedroom.

94

December 2017

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - December 2017

Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
American Cinematographer - December 2017 - 52
American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
American Cinematographer - December 2017 - 68
American Cinematographer - December 2017 - 69
American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
American Cinematographer - December 2017 - 75
American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
American Cinematographer - December 2017 - 79
American Cinematographer - December 2017 - 80
American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
American Cinematographer - December 2017 - 91
American Cinematographer - December 2017 - 92
American Cinematographer - December 2017 - 93
American Cinematographer - December 2017 - 94
American Cinematographer - December 2017 - 95
American Cinematographer - December 2017 - 96
American Cinematographer - December 2017 - 97
American Cinematographer - December 2017 - 98
American Cinematographer - December 2017 - 99
American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
American Cinematographer - December 2017 - 108
American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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