IDA director Pawel Pawlikowski and cinematographer Lukasz Zal, PSC

This post is about the stunning Polish film IDA, and is the opportunity to present detailed examples of scene lighting with video and high-resolution images.

Click on any image in this post to see a bigger version.

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IDA was directed by Pawel Pawlikowski, with cinematography by Lukasz Zal, PSC, and Ryszard Lynzewski, PSC. (When Ryszard fell ill early on, Lukasz stepped in for him & shot most of the film.)

As I discussed the lighting setups below with Lukasz, he emphasized that the images were the result of working closely with his director. Pawel shares a similar view: “It’s all about collaboration.”

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IDA

Ida is a young Polish woman in a convent, preparing to take her vows to become a nun in the early 1960s. The mother superior sends Ida out in the world to meet her aunt Wanda, a judge who once sent people to their death in the Stalinist era, and who now leads a dissolute life marked by alcohol and one-night stands. Wanda quickly informs Ida that she is Jewish, and that her parents disappeared during the war in mysterious circumstances.

The unlikely pair set out to investigate the deaths, with the hope of finding the bodies and paying their respects. Their journey takes them to the Polish countryside, where they meet with denials and uncover anti-Semitism and war crimes. The two women grow to be very close, and Ida becomes Wanda’s only friend. The film ends with Ida confronting her faith, and Wanda her unhappy solitude.

While the film is centered on the growing bond between a disillusioned Stalinist judge and her innocent niece, Ida evokes a number of other themes, giving us a portrait of post-war Poland infused with communism, Catholicism, anti-Semitism, and a first taste of the music and culture coming from the West. The film, says Pawel, is about all these themes, but mostly about “identity and faith.”

IDA was shot in 1.33:1 with an Alexa 4:3 camera and Zeiss Ultra Prime lenses provided by Panavision Poland. The movie was shot in color and recorded in ArriRaw on a Codex, and then turned into black-and-white in post on a Nucoda at the DI Factory in Warsaw.

IDA won the Golden Frog for best cinematography at Camerimage, the ASC’s first Spotlight Award, and was nominated for an Oscar in cinematography.

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Trailer for IDA

watch on YouTube

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The 3-minute video clip described below occurs 58 minutes into the film. A sequence of six brief scenes convey Ida questioning her decision to become a nun, upon returning to the convent after her travels with Wanda.

The powerful sequence is almost wordless. Just about everything is told with images: Ida’s isolation, her curiosity and desire, her humorous estrangement, her questioning prayer, and her decision to put off becoming a nun. For me this is cinematic filmmaking at its best: showing rather than telling.

Pawel Pawlikowski keeps his mise en scène here to a bare minimum, with no camera movement and few cuts. Each scene in this sequence also contains a brief poetic event that advances the story of Ida’s self-questioning: smelling a leaf, an open eye, a changing flame, a stifled laugh, a flickering candle, an upward look. IDA’s filmmaking masterfully combines economy and emotion.

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3 scenes

As with all great films, the power of IDA comes from all of its elements. As Pawel says, “a film that works is like a table with four even legs: the structure, acting, photography and sound are all equal.”

Let’s have a close look at one of the legs: Zal’s cinematography in the first 3 scenes of our video sequence. Lukasz recalls that he and Pawel sought to light IDA’s scenes simply, with single sources and natural lighting.

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kitchen, day interior

The scene is broken down into 3 shots:
- a close shot of Ida’s hands crafting a head garland.
- a close shot of Ida’s face as she works, pausing to smell a leaf
- a wide shot of the three novices

The sequence of shots starts the scene by isolating Ida from her companions.

Her isolation is reinforced when Ida gives a perfunctory nod after a fellow novice tries on a garland and asks for her opinion.

The framing leaves a lot of vertical space above the hands, face and people in the frame. This sky room is part of Ida’s distinctive look, and evokes both isolation below and inspiration from above.

Click on the film-strip images to see a larger version. When fully magnified you can appreciate the convincing artificial grain that was added to the image in post.

Lukasz lit the kitchen interior with 4 sources:

- A 6K key shines sunlight into the kitchen through a silk butterfly outside the window. This source’s light is bounced by the room’s light walls and enhanced by smoke.
- A 1.2K is shone through a lace fabric to create a mottled spot of light on a sink in the background.
This is a simple and elegant way to get dappled sunlight to give some texture to a solid surface.
- A 575-watt shines a beam narrowed by Black Wrap on to the fire stove in the foreground.
The highlights of these 2 inside spots appear to be coming from the window, which maintains the illusion of a single key source.
- A 4-tube Kino Flo shines through a frame with 1/2 white gel to create some fill on the shadow side of the wide shot.

For the close-up shot of Ida’s face, Lukasz moved the Kino Flo and its diffusion close to the left edge of frame, and placed a spot of light on the wall behind her to motivate the fill as a reflection of sunlight from the window. The resulting close-up is a sophisticated balance of brightness from the right and a subtle rim of fill from the left.

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chapel – day interior

The chapel scene is composed of 2 shots:

- A very wide shot from above of the novices lying on the floor

- A closer shot from the side of 4 novices that shows them with their eyes open.

I am struck by the composition of the closer shot, with an eye right on the edge of the bottom frame line. IDA has several such jarring compositions.

Here, it helps the viewer wonder what the novices are thinking as they lie on the ground.

Lukasz’s lighting was inspired by seeing the location with bright sunlight. He took a photo with his iPhone, and set out to evoke the natural light he had seen using 5 simple sources:

Lukasz had 3 6Ks set up outside shining through the big arched windows, each unit diffused with Lee 250 1/2 White Gel. Referring to the diagram:
- the top 6K was aimed to provide a highlight on the background on left of frame
- the middle 6K created streaks of light created by holes cut out of black Duvatyn material. These streaks break up the floor and also single out Ida in the frame.
- the bottom 6K provided general illumination through a big frame inside the chapel.
- Lukasz added a big frame of black material outside the frame on the left. This negative fill increases the image contrast and emphasizes the direction of the light from the right.
- Finally, he also added 2 Dedolights to give a sheen to the edges of the painting above the altar.
As with the kitchen interior, Lukasz maintains the illusion of a single sunlight source.
Lukasz’s technique of sunlight spots on the left and on Ida helps to balance the sources from the right, and gives the overall image its subtle, variegated contrast.

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kitchen – night interior

The scene is composed of 4 shots:

- A wide shot of one of the novices washing herself with the help of 2 others.
Ida moves left to the stove to heat water.

- A medium shot of Ida stoking the fire and looking up at the others

- A sensual shot of one novice pouring water on the other

- A close-up of Ida looking and then turning away, her face lit by the flickering off-screen flames. (Naturally, this fluctuation is best appreciated in the video excerpt above.)

It’s unusual to have this many shots in a scene in this film. The 2 different shots of Ida heighten her disturbance of sensual curiosity. Flames are a traditional image for desire.

After cutting off the bather’s face and emphasizing her body, the framing of the last close-up re-establishes the sky room.

These changing shots and perspectives in this scene highlight Ida’s disturbance.

Lukasz lit the kitchen interior very simply.

The wide shot key is provided by an Octodome high up, with a small bounce to right of frame.
The practical in shot, says Lukasz, was “a mistake.” The bulb was too bright and he asked the crew to dim it with paint, but he feels it was dimmed too much. The result is beautiful, even if it may not provide a realistic justification for the scene’s illumination.

The close shot of the washing novice is also lit with the single Octodome.

The shots of Ida are also lit with an Octodome from above, with the addition of bounce board to the left of the frame as fill. Lukasz points out that the Octodome creates a natural vignetting on the wall behind Ida. He wanted to break up the flat surfaces in the room.

In the close-up of Ida, Lukasz arranged for the fire to be stoked and then burn brightly enough to become the key light on the actress’ face. Lukasz remembers that the fire was so hot she had tears in her eyes after several takes, but, he says, “she forgave me.” Lukasz explains that for this scene, the fire was as important as the performance.

Once again, this scene starts with the illusion of a single source, but here a second key is introduced by the fire that evokes Ida’s troubled desire.

In part 2, we will look at the last 3 scenes in this sequence.

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links

Ida trailer

New York Times: An Innocent Awakened – Ida review by A O Scott

Hollywood Reporter: Ida review by Todd McCarthy

Music Box Films: Ida press page

Pawel Pawlikowski’s website

Lukasz Zal’s Vimeo channel

Lukasz Zal’s website

Arri Alexa 4:3

Dedolight: Octodome

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My thanks to Lukasz Zal and Pawel Pawlikowski.
Thanks also to Brian Andreotti and Laura Kim.
Video and stills courtesy of Music Box Films & Lukasz Zal.
Drawings by Benjamin B

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Part 2:
4 More Scenes from IDA

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You may also be interested in

thefilmbook: Eric Kress Lighting Workshop 1

thefilmbook: DPs & Gaffers: Who Does What?

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IDA director Pawel Pawlikowski and cinematographer Lukasz Zal, PSC, watching the camera monitor

This post continues my in-depth look at scenes from the wonderful Polish film IDA. Once again I offer video and high-resolution images to present detailed examples of scene lighting.

This 2nd post is intended to be seen after you’ve read the 1st post:
3 Scenes from IDA.

Click on any image in this post to see a bigger version.

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IDA was directed by Pawel Pawlikowski, with cinematography by Lukasz Zal, PSC, and Ryszard Lynzewski, PSC. (Lukasz stepped in for Ryszard early on & shot most of the film.)

As I continued to discuss the lighting setups with Lukasz, he emphasized time and again that the images were the result of his collaboration with his director Pawel.

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video excerpt from IDA

The 3-minute video clip below occurs 58 minutes into the film. The sequence of six brief scenes conveys Ida questioning her decision to become a nun, upon returning to the convent after her travels with her worldly aunt Wanda.

Pawel Pawlikowski keeps his mise en scène here to a bare minimum, with no camera movement and few cuts. Each scene in this sequence also contains a brief poetic event that advances the story of Ida’s self-questioning: smelling a leaf, an open eye, a changing flame, a stifled laugh, a flickering candle, an upward look. IDA’s filmmaking masterfully combines economy and emotion.

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3 last scenes

Here we look at the last 3 scenes in the sequence. As mentioned in Part 1, Lukasz and Pawel sought to light IDA’s scenes simply, with single sources and natural lighting, and locked-down frames.

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dining room, night interior

The scene is made of 2 shots, with subtle, underplayed action:
- a 3-shot of Ida flanked by novice nuns on each side.
- a wide shot of the Mother Superior looking at Ida, with 4 other nuns to her left.

As in much of the film, the framing leaves a lot of vertical space above the characters. This sky room is part of IDA’s distinctive look, and evokes both isolation below and inspiration from above.

Ida looks around and stifles a laugh. She briefly sees humor in her silent meal surrounded by nuns, revealing her estrangement from the convent setting. This moment of levity separates Ida from her companions who register surprise, and some disapproval. Ida then looks up, and glances camera left, aware of those looking at her.

We cut to a wider shot of five nuns, including the Mother Superior on the left, who eyes Ida intently.

Click on the film-strip images to see a larger version

Lukasz keyed the dining room interior with 2 Octodomes above the tables, to convey flat, institutional top lighting, the kind that could be provided by ceiling fluorescents. These 2 soft top light sources bounce off the white table cloth, creating a simple and elegant fill on the faces from below.

Lukasz’ lighting scheme involves a total of 7 lighting units.

In the first camera position:
- In the background, a candle is on a cupboard covered by a white cloth. A Dedolight spot is aimed on the cloth, to simulate candlelight. This bright background accent gives depth to the frame.

In the second camera position:
- A 6K outside creates a bright vertical glimpse of the window above the Mother Superior. The window was frosty, creating a nice sheen that bleeds softly on to the wall.
- A door in the background is open, showing a bit of wall lit by a Kino Flo.
Lukasz comments that adding background detail is a lesson learned from his fellow cinematographer and former teacher Ryszard Lynzewski.”Ryszard taught me that: whenever possible, open the space, show the windows, open the doors.”
- A third Octodome adds soft light to the far left corner, outlining a lectern in the background.
- A dimmed-down Dedolight adds a little exposure to a dark statue against the wall on camera right.
The candle on the table is merely decorative, and adds a bright accent to the top-lit interior.

The challenge of lighting this scene is not to make it beautiful, but to present ordinary, institutional top lighting, and still add some depth and accents to avoid a completely flat image.

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dormitory – night interior

The dormitory scene is composed of 2 shots:
- A wide shot of the back of 3 novices praying in their dormitory in their nightgowns.
- A reverse close-up shot of Ida’s face lit by flickering candlelight.

We dimly hear the other novices praying, but Ida is silent, revealing her isolation. The flickering candlelight recalls the fire light in the kitchen, 2 scenes earlier in the sequence. But while the kitchen fire evoked sensuality and desire, the varying candle in the dormitory evokes Ida’s thoughtful uncertainty about becoming a nun.

Lukasz’s lighting required lowering sources to keep the 3 candles on the altar bright.

The candle’s key light is simulated by a Dedolight placed on the ground in front of the kneeling novices, and pointing upwards at the altar. This spot creates a shadow of the candles, which obviously cannot create their own shadows, but I feel that the lighting nevertheless succeeds in creating a feeling of strong candlelight. The decisive thing is the brightness of the area around the candles in the frame.

A 6K through a frame with 1/2 White gel outside the window provides a sidelight on the novices, defining them in the darkness. Lukasz notes that he had to pan the HMI fixture so as to get less light coming through the window, a technique he often uses to dim sources.

An Octodome above the camera provides general fill and defines the bed frames in the foreground from above.

For the close-up, Lukasz wanted natural candle light, so he put 6 candles on an apple box right below camera to light Ida’s face.

6 foot candles for Ida’s close-up (camera operator Tomasz Novak is on left)

For the close-up Lukasz also brought in a frame of 1/2 White on camera left to soften the window sidelight. In the background, the Octodome above dimly defines a bed.

To heighten the sense of mystery in Ida’s eyes, Pawel had the actress wear dark contact lenses in the film. The effect of these dark, soulful eyes is really evident in this close-up.

This scene is a great example of using real candle light, and subtly balancing all the other sources to complement the candles.

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garden statue – night exterior

The exterior scene is composed of 2 shots:

- A close shot of Ida pacing back and forth in the dark, then finally looking up.

- A wide shot that reveals that Ida is in the convent garden next to a statue of Christ that was seen at the very beginning of the movie.

Ida then speaks her only line of dialogue in the sequence of 6 scenes:
“I’m not ready. Forgive me.”

This is the culmination of the sequence, first Ida moves back and forth to show her agitated and indecisive state.

Then, alone in the darkness, Ida tells her God that she is not ready to become a nun.

Lukasz sought to light the night exterior as naturally as possible, and he says that this was one of the most difficult scenes in the movie, because he chose to shoot it as dusk for night.

Lukasz set up for the wide shot first, bouncing 2 6Ks and 1 4K into big frames on the Western side of the garden, to add a very soft direction to the light. He positioned these big fixtures far away from the action, about 40 meters, so as to not sense the sources in the frame. He relied on the sky to provide natural fill from the right. The camera was set up in the convent building as a high shot with a long lens.

The difficult part was balancing the bounced sources to rapidly darkening skylight. Speaking via walkie-talkies to electricians near the fixtures, Lukasz had them tilt the units downwards as the sky got darker, ending up with almost no bounce at all in the final take.

The crew then rushed the camera to the statue for the close-up of Ida. A 4×4 1/2 White frame was brought in behind the actress to provide backlight from the distant bounces, and a poly was used for fill. Lukasz laughs as he recalls how dark the close-up was. “I couldn’t see anything with my eye, I only saw it in the viewfinder”.

This scene is a very compelling and convincing night exterior. The choice of dusk for night implied shooting quickly and adapting to the natural light. I especially like that you can’t sense the sources in the wide shot because they’re so far away.

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another scene

To give another taste of IDA, I wanted to describe one more scene, when Ida dresses up to go to a club to listen to her musician friend play jazz. Although I don’t have an excerpt of the scene to show, you can see glimpses of it towards the end of the trailer:

watch on YouTube

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night club – night interior

The club scene is composed of 3 shots:
- a wide shot from behind the audience watching the musicians play Coltrane’s love ballad Naima.
- a wide shot that reveals Ida in the audience wearing a dress
- a close-up of her, entranced by the music

Music plays an important role in IDA. There is an eclectic mix of 1960s pop songs, jazz and classical.

Mozart‘s Jupiter Symphony accompanies a key dramatic moment, and the film ends on a Bach cantata.

Here Ida is clearly taken by Coltrane’s ballad, which serves as a gateway to romantic love: in the next scene, she dances with the saxophone player.

The musicians were simply lit with 2 fresnel spots. The spot on camera left is a kind of soft key, shining through a frame of 1/2 White, the spot on camera right serves as a backlight for the band; a little smoke softens the image.

Lukasz lit the shots on Ida with practicals and 5 sources:

- The soft key is provided by a Compact Kino Flo bounced off a poly and then diffused through a frame of 1/2 White. This combination of bounce and diffusion is often called a “book light“; it can also be done by diffusing first and bouncing second.
- An Octodome serves as fill on camera left.
- A 2K fresnel is shone into a Full White frame behind a bar with a shelf of bottles, creating rectangle of soft shapes on the left of frame.
- Another 2K fresnel creates another, dimmer rectangle on the right of frame.
- The background center is defined by 2 practicals and a Dedolight on a poster of Coltrane.

The strength of the lighting relies on the delicate and sophisticated balance of different tonal values, and Lukasz put all the units on a dimmer board so he could fine tune the look for each take.

The shots on Ida offer a rich background, with variegated dark and bright variations, and the book light on Ida is ravishing, especially when the book light is brought in close to her for the close-up.Lukasz sums up the goal of this complex lighting set-up simply: “we wanted to make Ida look beautiful.”

This scene is a good example of an image that offers a full range of gray tones from black to white, an important lesson for cinematography in color as well as black and white.

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links

New York Times: An Innocent Awakened – Ida review by A O Scott

Hollywood Reporter: Ida review by Todd McCarthy

Music Box Films: Ida press page

Pawel Pawlikowski’s website

Lukasz Zal’s Vimeo channel

Lukasz Zal’s website

Arri Alexa 4:3

Dedolight: Octodome

YouTube: John Coltrane’s Naima

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My thanks to Lukasz Zal and Pawel Pawlikowski.
Thanks also to Brian Andreotti and Laura Kim.
Video and stills courtesy of Music Box Films & Lukasz Zal.

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Part 1:
3 Scenes from IDA

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You may also be interested in

thefilmbook: Eric Kress Lighting Workshop 1

thefilmbook: DPs & Gaffers: Who Does What?

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I posted a closer look at Klute, a lesser-known masterpiece by Alan Pakula with pioneering cinematography by the late, great Godron Willis, ASC, with comments by fellow cinematographers Ed Lachman, Matthew Libatique & Vilmos Zsigmond, as well as my friend & colleague Stephen Pizzello, who recently completed a book about Gordon.

This post is based on a tribute to Gordon Willis that I organized with Stephen at Camerimage 2014.

My post on thefilmbook blog on the ASC web site

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Stanley Kubrick shoots a mirror self-portrait with his daughter Vivian on the set of The Shining, his most perfect film, if not his best one.

Kubrick worked as a professional photographer in his youth.
It’s telling to see him blur out everything (including the movie star) except for himself, his daughter Vivian and the Arri BL camera.

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Links

Watch Vivian’s wonderful documentary of her father’s film

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Click on any image to enter into a slideshow mode:

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YouTube link:
http://bit.ly/Roma-Cinematography-YouTube

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In the video, editor Lee Smith states that:
“70 something percent of the film is the full IMAX format”

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LINK

Dunkirk featurette video on YouTube

Great in-depth presentation by the Mad Max : Fury Road director of photography, John Seale, ACS ASC, and the second unit cinematographer, David Burr, ACS about the making of this old-school film.

Watch this on vimeo

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Masterful execution of bank robbery / chase by director Edgar Wright, with dp Bill Pope, cut to “Bellbottoms” by editors Jonathan Amos & Paul Machliss

I especially like the first 2 1/2 minutes: introduction to the main character, with glimpses of the robbery from the getaway driver’s perspective.

Great pop cinema.

LINK
http://bit.ly/BabyDriverOpening

12 noteworthy films of 2015:
The Assassin, Carol, The Hateful 8, Macbeth, Mad Max: Fury Road, Meadowland,
The Revenant, Sicario, Son of Saul, Spectre, Victoria and Youth
(click for bigger image)

A look back at some of the wonderful films of 2015,
and 6 trends I noticed in the past year
on thefilmbook blog on the ASC web site

6 Trends
1. Long Takes
2. Elastic Frame
3. Shooting Negative
4. Digital Finesse
5. Monitors Rival Theaters
6. Large Format

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Link: http://bit.ly/2015Review6TrendsThefilmbook

Another film about teenagers by the maverick director and photographer Larry Clark.
First offered on Clark’s web site, it will now be available on iTunes.

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