AmericanCinematographer201201

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Top: String Theory begins in a dusty room where a girl (Evelina Mambetova) sits motionlessand covered in a layer of silt. Middle: Awaking, the girl shakes off the silt; the action was captured at1,000 fps. Bottom: The girl explores her strange surroundings.and he is quite knowledgeable, so I didn’thave to be entirely specific about the lightingneeds for each shot.”As the girl starts to explore hersurroundings, she is lit primarily with thepracticals. For fill and accents, Romano usedthe 2x2 Kino heads behind sheets of 1⁄2CTO, Opal and 250 diffusion. For a shotshowing the girl using an airbrush to drenchan orchid in a coat of red paint, and anothershowing her contemplating a table coveredin knickknacks, the Kinos served as close,soft keylights.Romano used a variety of differentframe rates throughout the film. “I try to erron the side of giving people more frames[than needed],” he says. “You can alwaysgo to 24 fps in post, and you can ramp yourshots in post. However, you get a slightlydifferent 24-fps look when you originate inhigh speed because you’re using a narrowershutter angle — about 1 ⁄2,000 of a second.You get a sharper image and choppier playback.”In another scene, the girl is bathed ina light that matches the blood-red color ofthe orchid, and off-camera fans blow herhair and garments in billowing ripples.Initially, Romano shot the scene at 1,000 fpswith red gels on four overhead 2K scoops,but he soon noticed a problem with imagesoftness. “We couldn’t get good focus onour subject,” he says. “Light moves veryslowly at the red end of the spectrum.”He finished shooting the scene withthe red gel, then removed the gels andreshot the scene with diffused, uncoloredtungsten light. “Because the whole shotwas red, we could add the color [in post],and that way the shots could be in focus,”he explains. “I was on another job recentlywhere we came across the same issue, butred wasn’t the only color of light in theframe. If you have a mix of light, you can’treally cheat it.”In another corner of the girl’s reality,she finds a wood box with geometricshapes cut into its side. Peering into a seam,she sees that the inside of the box is linedwith mirrors, reflecting to infinity on allsides, and contains a small swarm of butterflies.To capture the girl’s point of view, thefilmmakers constructed a scaled-up box inwhich only the bottom and one of the four14 January 2012 American Cinematographer
F O R Y O U R C O N S I D E R A T I O N“IN THE MUTED, ARTFULLY MURKY IMAGES OFCINEMATOGRAPHER TOM STERN, HOOVER IS TRULYA MAN IN THE SHADOWS.”RICHARD CORLISS,BEST CINEMATOGRAPHYTOM STERN, A.F.C., A.S.C.WWW.WARNERBROS2011.COM
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Page 11 and 12: © 2011 Paramount Pictures. All Rig
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