The American Society of Cinematographers

Loyalty • Progress • Artistry
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Return to Table of Contents August 2015 Return to Table of Contents
Presidents Desk
Page 2
ASC Close-Up

Did you use a lot of practicals for the interior scenes, given that you were working at such high ISOs?

Trost: Our production designer, Jonah Markowitz, gave us many fantastic practicals to work with, and I would often use them to light the scene and augment with Source Four Leko bounces. I also used Lowel Rifas, which I love. You can lay them on the ground under a practical source to boost it a bit, and you can dim them down for a nice warmth. They’re egg-crated now, so they can be focused. That’s how I approached a lot of this film: with simple tools. When we were outside, we didn’t do too much [lighting]. We mostly just relied on the sun to be in the right spot.

Is there a different process to shooting a high-concept comedy like The Interview as opposed to an indie drama like Diary?

Trost: In both cases, you just follow the story. We didn’t set out to make Diary look like ‘an indie drama.’ We approached it simply and honestly and made the choices we felt were right for this story.

Watch a trailer for the film here.





Digital Capture

Red Epic

Panavision MAP55, C-Series, E-Series, G-Series


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