American Cinematographer - January 2014 (Gnv64)

8/12/2019 American Cinematographer - January 2014 (Gnv64)

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The International Journal of Motion Imaging

In an exclusive online podcast, cinematographer Elliot Daviswill discuss his creative approach to Man of Tai Chi, whichfollows the spiritual journey of a young martial artist whose unparalleled skills lead him to compete in a brutal undergroundfight club. The movie marks the directorial debut of actor Keanu Reeves, who also plays a key role.

Left: Chen Lin-Hu (Tiger Hu Chen)demonstrates his martial-artsprowess in Man of Tai Chi.Right: Director Keanu Reeves andcinematographer Elliot Davis setup a shot on set.

J A N U A R Y 2 0 1 4 V O L . 9 5 N O . 1

Martin Alberto Montellano: Gravity. Why?Emmanuel Chivo Lubezki [ASC, AMC].

Kenny Kraly Jr: Gravityand Thor: The DarkWorld.

Charles Kennedy Jr.: I say Gravityas well. Itsa visual achievement and not just from an

effects standpoint the sweeping cameramovements are out of this world (no punintended).

Mac Eiteagain: Only God Forgives. Its dark ashell, but the use of light, angles and shots addstension and suspense to give it a really grittylook.

Juan Namnun: Rush the rain, the rain.

Ysidro Sore: Metallica Through the Never

because it brought the 3-D concert experienceto a whole new level both visually and story-telling-wise. Also because the music rocks lit-erally!

Scott Gleine: Maybe its not the flashiest pick,but Id like to acknowledge Adam Stonesunderrated work [in] Mud. There is a certaintexture and nuance to the photography of thatfilm which really makes the viewer feel drawninto the setting and tone of the story, makingthe overall experience more vivid and fulfilling.

Ignacio Aguilar: Prisoners. It seems that digi-tal acquisition has allowed Roger Deakins [ASC,BSC] to take more risks, [but] he still delivers anatural and source-motivated look with tremen-dous contrast and very deep blacks. Hisapproach is low key, but adds a lot to the pic-tures narrative and atmosphere. Loved hisnight-exterior scenes.

Victor Arias: Gravity, of course, though I real-ly did enjoy Sofian El Fanis work in Blue Is theWarmest Color. It was beautifully shot. Thescenes between the two main characters wereshot mainly in close-ups, which helped give thefilm realism and a docu-type feeling.

Ricardo Valdez Esquer: Stokeror Prisoners.

William Richard Borowski: Gravity, OnlyGod Forgives and Spring Breakers are the three

films of the year with the best cinematography,in my opinion.

Matthew Smith: Larry Smiths work on OnlyGod Forgives shows a sophisticated eye for sat-urated color that rivals the Italian greats of the70s, and also demonstrates that the man canproduce a gorgeous image in all kinds of differ-ent lighting situations.

Lizzie Ford-Madrid: 12 Years a Slave andSpring Breakers.

Sulekh Suman: Amongst the films Ive seen,Captain Phillips, Out of the Furnace, The SecretLife of Walter Mitty, 12 Years a Slave and RamLeela (from India) all stand out. Nebraska, Gravi-ty, Only God Forgives and Blue Is the WarmestColor, all shot on digital, looked flawless.

Cailin Yatsko: La Grande Bellezza (The Great

Beauty).

Matthew A. MacDonald: From the openingsequence to the subtly redemptive conclusion, Ifelt thoroughly transported by The Place Beyondthe Pines, thanks in large part to Sean Bobbitt,BSCs impeccably crafted, textured images; sub-tle yet evocative lighting; and camerawork thatalways served indeed elevated and neverdistracted from the story.

Jan Veldhuizen: The Conjuring. The realistic

lighting, the subtle camera movement and thepowerful zooms gave me the creeps. And Pris-oners, [because] Roger Deakins seems to under-stand and feel every single line of the script.

Tanmay Toraskar: Inside Llewyn Davis, [forits] great, stylized evocation of the 60s and theheart-wrenching, emotional capture of themusical performances. Hats off to Bruno Del-bonnel [ASC, AFC].

SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM

THIS MONTH S ONLI NE Q UESTI ON: Whats your pick for the best-shot movie of 2013, and why?

To read more replies, visit our Facebook page: www.facebook.com/AmericanCinematographer


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Best Cinematography

Eric Steelberg, ASC

For Your Consideration In All Categories Including

Best Picture of the Year

Written for the Screen and Directed byJason ReitmanBased on the Novel by Joyce Maynard


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Love, longing and the search for self-fulfillment are keythemes in this months spotlighted projects.

The Coen brothers Inside Llewyn Davis, shot by BrunoDelbonnel, ASC, AFC, follows the misadventures of adowntrodden folk musician struggling to catch a breakwhile mooching his way through the Greenwich Villagemusic scene of 1961. Suffused with melancholia, the storyrequired Delbonnel to provide a bleak, wintry ambience thatwould emphasize the Sisyphean futility of the main charac-ters quest. This film couldnt be beautiful or golden ithad to be uncomfortable, Delbonnel tells Benjamin B(Folk Implosion, page 36). The question was how tocome up with a very sad, very dirty image without falling

into the extreme of a completely blue winter, which bores me you know, yellow equalswarm, blue equals cold. We went toward dirty magentas and cyan, two colors that opposeeach other.

For The Secret Life of Walter Mitty, Stuart Dryburgh, ASC, NZCS was tasked with help-ing director Ben Stiller blend more realistic scenes with the elaborate fantasy sequences thatspring from the main characters active imagination. Walters fantasy world is always sharper,brighter and more vivid, Dryburgh tells Iain Stasukevich (Daydream Believer, page 50).

Intimate secrets inform the plot of the 19th-century romance The Invisible Woman,shot by Rob Hardy, BSC, who discovered a kindred spirit in the movies star and director, RalphFiennes. In senior editor Rachael Bosleys finely detailed article (A Curious Camera, page64), Hardy says he was keen to collaborate with Fiennes on both of the latters chosen disci-plines: A lot of what cinematographers do is informed by what actors do, and it goesbeyond the technical; were all telling the story together. Id worked with directors who had

been actors, and their understanding of actors and performance gave me a whole newperspective, so I was really interested in working with an actor/director.

Herexplores a different kind of romance set in a near-future Los Angeles, where alonely corporate writer (played by Joaquin Phoenix) falls in love with his computers sophisti-cated new operating system. Cinematographer Hoyte van Hoytema, FSF, NSC helped direc-tor Spike Jonze fashion a warm but subtly alienating feel for the movies urban utopia. Spikewanted a future that felt a little more tactile than it does in most films, Van Hoytemaexplains in Michael Goldmans Q&A with him and Jonze (And She Was, page 76). Themain reference was a book of photos called Illuminance by Rinko Kawauchi. The photos aredreamy studies of what appears to be very trivial. Theyre square photos with a kind of mutedpalette, and they are extremely sharp and crisp, yet romantic and poetic. Echoing Herstheme of technological bonding, Jonze adds, I sent Hoyte the script, and we had a couple

of long Skype sessions where we really hit it off. He is a great listener. If I had an idea abouthow to shoot something, he wanted to understand it, and then take that idea and make itbetter. If he didnt understand it, he kept pushing and bending the logic until he could. I thinkhes an incredible artist.

Stephen PizzelloExecutive Editor

Editors Note

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Happy New Year, and the best of everything to you and yours during these next 12 months!In the April 2006 issue of this magazine, I wrote a column addressing the problem ofexcessive working hours and its terrible effect upon those of us who make our living on set.Nothing has changed since then; if anything, the situation has gotten worse. Now, almost anycasual chat with a crewmember will come to mention the weariness and exhaustion inherentin our way of life. Its sad that everyone seems to accept this as necessary, because its anythingbut. Recent personal experience and discussions with colleagues across all the crafts suggestthat its once again time to put this troubling situation on everyones front burner.

A good place to start is with a statement made by a man who was one of the mosthonored and respected individuals in the business, late ASC legend Conrad Hall. Speaking onbehalf of all cinematographers, I can assure you his words are as valid today as they werewhen he issued them 11 years ago:

Our responsibility is to the visual image of the film, as well as the well-being of thecrew. The continuing and expanding practice of working extreme hours can compromiseboth the quality of our work and the health and safety of others.

The reasons we work such punishing hours are varied and often illusory. Certainly, inmany instances, poor planning and incompetent scheduling can be blamed. Unchecked greedon the part of studios and producers is also a default excuse. But whats happening to us is

much more insidious, and its similar in many ways to the story about the frog in the pot of water who becomes aware too late thatthe temperature has been incrementally turned up to a boiling heat. Just compare the amount of work fit into the average day onany production today to what it was a mere decade ago, and youll see what I mean.

We are doing more in less time than ever before. One popular weekly series with which Im familiar spends seven days shoot-ing an episode that plays for 42 minutes on the air. To achieve that, the crew commonly spends up to 98 hours a week on the job not including travel to and from the set. In terms of page count, theyre completing the equivalent of a full-length feature every10 days. Ten years ago, that would have been unimaginable, but today, we accept it. Short of those involved in waging war, is thereanother line of work that demands so much of people?

In a sense, we have only ourselves to blame. Weve become so good at our jobs that we make the delivery of a first-classproduct look easy under any circumstances. Producers are keenly aware that people drawn to our profession are, by nature, TypeA problem solvers. They know we will rise to any challenge and go to almost any lengths to complete the task. They also know weare freelancers and happy to be employed. This gives them a tremendous advantage, especially when they realize how easy it is touse our passion against us.

No one who does our job was ever a 9-to-5 person. None of us is lazy, nor did we get into this thinking our jobs would haveany sense of normality as most people understand it. But at some point, our employers need to wise up and understand that whatsat stake is not only our safety and quality of life, but also the value of their product. Until someone high up in the food chain real-izes how destructive unduly long working hours are, there is not much we can do. We should pray that it doesnt take someonegetting seriously hurt or killed, like Brent Hershman in 1997 to turn things around.

So, the beat goes on, at least for the time being: more work piled into less time than ever before, crewmembers walking

around like zombies, exhaustion as a way of life. Perhaps this will change only after we force the people who impose these condi-tions on us to stand by our side for every minute of our working shift.

Then again, they probably wouldnt last through lunch.(For more on this issue, check out Who Needs Sleep?, an amazing documentary made by Haskell Wexler, ASC.)

Richard P. CrudoASC President

Presidents Desk

12 January 2014 American Cinematographer

P h o t o b y D o u g l a s K i r k l a n d


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Casualty of WarBy Peter Tonguette

German cinematographer Kay Madsen had long wanted tocollaborate with filmmaker Korstiaan Vandiver, and earlier this year,he finally got his chance, but Madsen admits that he was slightlytaken aback when Vandiver suggested that they team up on a shortfilm for the 168 Film Festival. Its a faith-based festival, Madsensays, and Im not a man of religion. Ive been in two churches in mylife, so I wondered what I would be getting into.

After agreeing to participate, Madsen had to wrap his headaround another of the festivals requirements. It turned out that the168 was not a metaphor, but rather a literal rule: [They] give you168 hours to write, shoot and edit a 10-minute short.

Madsen was game, but he did not immediately have to grap-ple with the logistics involved in a seven-day shoot because Vandiverfirst broached the idea in late February, and work on the film would

not begin until May. After three months passed, Vandiver contactedMadsen to say they were hours away from production. Korstiaancalled me and said, It has started. Im writing a script now. We wantto shoot in two days, recalls Madsen.

There was no prep time, and although Vandiver had decidedon locations for the project, which focuses on an Iraq War veteransuffering from post-traumatic-stress disorder, there was no time toscout them. The production could not afford movie lights, soMadsen had to trust that the available light in the locations, whichwere in Studio City and Culver City, would be sufficient. Madsenrecalls, I said to Korstiaan, You know what? Since this is a faith-

based project for a faith-based festival, Ill try to have faith in yourchoice of locations and just jump into it!

Lu is set primarily in a grimy motel room where ex-MarineLuis Lu Larham (Nate Parker) grapples with memories of a horrificincident he experienced during the war. When the filmmakersarrived at the designated motel, they found themselves at odds withthe owner, who had developed cold feet about turning one of hisrooms over to the crew.

Fortunately, contingency arrangements had been made at asecond motel, so the team moved on. The second one turned outto be much better, so that was lucky, says Madsen. Vandiver, whomMadsen describes as a man of faith, did not call it luck. He wasalways saying, Look, theres someone involved here who is helpingus, Madsen recalls. [My response] was, Yeah, okay, lets justmake the best of it.

Madsen brought his own Red Epic onto the project, which hecaptured at 5K full frame. He says he appreciates the Epics ease of

use: I like a very stripped-down, simple, lightweight camera thatsalso balanced, something that can sit on your shoulder easily for thewhole day. Ergonomics proved especially important on Lu, whichhe shot entirely handheld. I love operating the camera myself,especially on handheld shots, which become like an intimate dancewith the actors. You almost feel like a member of the cast.

The cinematographer used a set of Lomo Illumina S35 T1.3prime lenses. Theyve been out in the field for four or five years, buttheyve been under almost everyones radar, Madsen observes.They have their imperfections, but thats actually why I love them.With modern digital cameras, the image can be almost clinical. I try

Short Takes

Luis (NateParker), an Iraq

War veteran,holes up in a

motel room tograpple with

post-traumatic-stress disorder inLu, a 10-minute

short written,shot and edited

in 168 hours.

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to counter that by using lenses that havecertain imperfections because I want theimage to have a more organic feel.

Because he didnt have the luxury ofpreparing a shot list or storyboards, Madsencarefully surveyed the motel room on thefirst day of shooting. While scanning forpotential problems, he found only pluses.There was a big window, which gave uskeylight, and it had an opaque curtain,which helped us shape or cut the light.

The curtain was either drawn tovarying degrees or closed entirely, depend-ing on the ambience Madsen sought or the

time of day he was trying to simulate. Fornight scenes, we closed the curtains almostcompletely, allowing just a little bit of light

to seep in and provide a moonlight glow,and we changed the cameras color temper-ature from 5,600K to 3,400K, saysMadsen.

The night scenes were shot at T2 atISO 800, and Madsen made creative use ofthe rooms two built-in practicals. Thefixtures were slightly recessed in the ceiling,so they created nice pools of toplight andprevented spill from hitting the walls, whichkept the backgrounds darker and helped

separate our foregrounds, Madsen says.The cool glow from the large TV setprovided additional fill, and we put a 150-watt bulb in a cheap scoop to bounce softtungsten light from the bathroom door intoa dark corner of the room.

The window curtain also proveduseful as Madsen began planning an over-head shot of Lu lying in bed. To simulate aflash of lightning, a crewmember whippedthe curtain open and shut. It was a simpletheatrical lighting trick, Madsen com-ments. We discovered the effect acciden-tally while we were playing around with thecurtain! The lightning dissolves into anarresting flashback that helps to explain Lustroubled state of mind: a blindingly brightimage of the soldier in his battle fatigues,pointing his rifle at a group of Iraqis. Theaction is obscured, but a bloodied hand isvisible among the smoke and debris, indi-

cating that the mission has gone wrong.The motel room offered other pleas-

ant surprises. In an early montagesequence, Lu is shown shadowboxing,doing pushups and drinking alcohol. Tovent his angst, he punches a bathroom wall.The crew could not actually damage thewall, but they didnt have to. When weexplored the bathroom, we discoveredthese two big holes in the wall, Madsensays. So, we staged a shot with Nate


Top: A flashback reveals the source of the vets torment. Bottom: Lu rides out a long night at the motel.


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where we started on a close-up, with himpunching the wall out of frame, and thenpanned down to show him pulling his fistback from one of the holes.

Lu switches to its other main locationfor a sequence in which Lu seeks a measureof relief by visiting an Iraqi woman whosurvived the incident. Having relocated tothe United States, the woman hosts Lu in

her bright, airy home.Prior to Lus visit, as the woman

contemplates a Webcam message he hassent, she walks outside to dip a foot in herpool, where the water is a strange shade ofgreen. The pool had turned green a fewdays earlier, after the pump went bad, saysMadsen. Instead of despairing, he andVandiver considered the emotional subtext

the hue could lend to their story. Green isthe color of hope, muses the cinematogra-pher. At the same time, a green pool issomething thats been sitting there withoutseeing a lot of care.

The filmmakers were constantly onthe lookout for small moments they could

weave into their narrative. The story iscompressed into 10 minutes, so wewondered how to give it a bit of breathingroom, says Madsen. He cites a seeminglyunremarkable shot of the woman taking ateapot off her stove just before she receivesLus message. To subtly suggest that thewomans routine is about to be disrupted,Madsen framed the teapot more promi-nently in the foreground, making it the onlyobject in sharp focus.

Madsen pulled focus himself most ofthe time, and he used shallow depth-of-fieldselectively. Sometimes its great to isolatecertain elements, he says. Theres one shotin the motel room that starts from adistance, and its completely out of focus aswe walk in. Then we find Lu leaning on thewall, smoking a cigarette. We basically walkinto focus.

Madsen also served as the projectseditor, loading the 5K files into Final CutPro X. With the help of a Red Rocket card,we were able to do real-time editing, but itsnot always easy to wear two hats. Themandated running time of 10 minutesforced him to be ruthless with the footage,and on the final day of editing, the cut hadto be reduced from a length of 17minutes. We had some shots in there thatwe really liked, he laments, but there wasjust no room for them.

Color correction was performedusing a built-in FCPX tool to crush theblacks a little bit, and to play with the satu-ration, he says. Apart from small adjust-ments, the final look is pretty much how it

came out of the camera.Madsen and Vandiver managed to

beat their deadline, but the cinematogra-pher says they essentially turned seven daysinto 14 by working well into the night.Reflecting upon the experience, he says hedoesnt regret his leap of faith. If the condi-tions are right, you can achieve great resultswith very little means. I like that leanapproach to filmmaking.


Top and middle:Lu is moved by a

meeting withMila (Saye

Yabandeh),whose family he

killed in Iraq.Bottom:

CinematographerKay Madsen at

work on location.


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A Dark Chapter in German HistoryBy Jean Oppenheimer

Directed by Brian Percival and shot by Florian Ballhaus, ASC,The Book Thieffocuses on 11-year-old Liesl (Sophie Nlisse), who issent to a small German village during World War II to live with fosterparents Hans and Rosa Hubermann (Geoffrey Rush and EmilyWatson). Liesl arrives with a book she has stolen, even though she isilliterate. When Hans teaches her to read, she discovers the power ofwords to nourish and heal the soul.

For Ballhaus, who moved to the United States from Germanywhen he was 19, The Book Thief was an especially meaningfulproject. Its always very moving for a German to do a movie aboutWorld War II, he says, and this one was even more personal for mebecause my parents were of Liesls generation, and they also grew upin a small town. (Ballhaus is the son of veteran cinematographerMichael Ballhaus, ASC, BVK.)

American Cinematographer: What look and feel wereyou and Percival aiming for?

Florian Ballhaus, ASC: The novel [by Marcus Zusak], whichis narrated by Death, moves back-and-forth in time, but the structureof the screenplay was instead quite linear. We wanted the audienceto be emotionally engaged with Liesl as quickly as possible, so wedecided to film it almost exclusively from her perspective. Experienc-ing civilian life during World War II through the eyes of a young girlmeant we had to resist the drab, desaturated images of wartime thatare so common. Instead, we chose to follow the books lead andpresent these terrible times with the imaginative perspective of a

child. As Zusak does in the novel, we used color to suggest theemotional temperature of the scenes; that was very important. Wealso knew from the start we wanted this to be a widescreen movie.We considered anamorphic, but I felt that look was too modern forthe time period. We instead chose Leica Summilux-C [18mm to100mm] primes, which are beautiful and magical, especially whenyou shoot fairly wide open, and Angenieux Optimo zooms, a 4:1and a 12:1.

Why did you choose the Arri Alexa?Ballhaus: We considered shooting on film because this is a

historical movie, and we didnt want the extremely clean look youget with digital. However, we also didnt want to give up the advan-tages of digital, particularly the ability to do long takes, which isuseful with child actors. I also appreciate having the ability to do on-set grading; I try to set the look with the DIT and keep it the sameall the way through. We did tests with the Alexa and found that byadding grain [in post], we could create something similar to the look

of film. Also, the Leicas focus fall-off at T2.0 gave us some addedtexture. We wanted to record in ArriRaw, and German productionsusually use ProRes, so I brought over [DIT] Dan Carling fromEngland. We had worked together on two previous films, and heunderstood exactly what ArriRaw entailed. We started shootingwith the Alexa, and halfway through production, the Alexa XT cameout, and we were able to use one of those as a third camera on thelatter half of the shoot. The XT is easier to work with because it hasbuilt-in ArriRaw recording.

How did you do the shot in the opening sequencewhere the camera swoops down on the speeding train,

Production Slate

T h e B o o k T h i e f p h o t o s b J u l e s H e a t h c o u r t e s o f 2 0 t h C e n t u r F o

Liesl (SophieNlisse) triesout her new

reading skillsalongsideMax (Ben

Schnetzer), aJewish

refugee, inThe Book

Thief.

I


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enters the train compartment as ifthrough the roof, and floats throughthe car before finally settling on Liesl?

Ballhaus: We built the train car, putoverhead tracks inside, and attached a smalljib arm and a stabilized remote head thatallowed us to float over the heads of the

passengers and move around the car veryfreely.Was the Hubermanns three-

story house built as a single set?Ballhaus: Originally the basement

and first floor were to be one set, but I feltthat would complicate shooting on themain floor because it would be so high offthe ground. So instead, three separate setswere built. Production designer Simon Elliottdid a terrific job. Although those sets weresome of the smallest Ive worked in, theyhad a very open layout, with doors and ahallway helping to create a sense of depth.We restricted ourselves to the reality ofwhat was there. I hate taking out wallsbecause I feel that places you outside thatworld. Also, because so much of the storyhinges upon the need to hide, and thedesperation of being caught, it was neces-sary to feel trapped inside the world wecreated. The windows were really small,which was accurate for the time, and ceil-ings were frequently visible in shots, whichcontributed to the sense of claustrophobia.

How did you approach lightingthe house?

Ballhaus: We had cold blue lightcoming through the windows and warminterior practicals. My gaffer, Janosch Voss,and his crew built soft boxes to create theskylight; the larger boxes were 12-by-8 feetand consisted of nine space lights, eachwith six 800-watt bulbs, all on dimmerboards. The smaller boxes were 8-by-8 feetwith six space lights. Each box was coveredin Light Grid and motorized so it could be

lowered and raised. For sunbeams, weplaced 20Ks and 12Ks on stands betweenthe soft boxes, and when we were shootingin the kitchen, we removed a piece of theceiling so that spill from the space lightscould provide rimlight on the actors. We hidChina balls throughout the kitchen thatwere diffused with either bleached orunbleached muslin, and sometimes wethrew up 4'x4' frames of 250. At times, wealso used [Lowel] Rifas and/or Linestras.

Top: HansHubermann

(Geoffrey Rush)leads his wife,

Rosa (EmilyWatson), andLiesl through

the trainstation. Middle:Hans entertains

Liesl and Rosain the kitchen.

Bottom: Thefamilys

basement isanother key

setting.


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How did you light the base-ment?

Ballhaus: The physical layout of thebasement allowed us to shoot from a vari-ety of angles. There were two small, narrowwindows that justified adding little streaksof light on the interior brick walls. Weplaced 12Ks outside the windows and hidChina balls and Linestras throughout theroom. Small practicals provided a warmglow. Additional light came into the base-ment through the open kitchen door.Janosch used mirrors and reflectors aroundthe room very creatively, catching the lightand producing little hits on the walls thatreally helped bring out the texture of thebrick. He has a great eye for the subtletiesof shaping light, and was extremely smartabout using a single light, yet catching it inmany different ways.

What was your strategy for

making camera moves in the house?Ballhaus: We used handheld spar-

ingly because we wanted to emphasize itsraw power. One example is when the familyis frantically hiding Max [Ben Schnetzer], aJewish refugee. Otherwise, the camerausually was on a PeeWee dolly or aBazooka. One shot that works beautifully isthe one after Hans stands up for a neighborwho is being arrested. He sits at the kitchentable, distraught, realizing he has put his

Top: A Nazi issilhouetted bythe flames of

burning books ata rally in Liesls

village. Middle: ATechnocrane is

used to capture ashot of the

event. Bottom:CinematographerFlorian Ballhaus,ASC on the set.


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www.arri.com/qr/asc/ana

ARRI MASTER ANAMORPHIC LENSES. TRULY CINEMATIC.

STRETCH YOUR IMAGINATION

> BEAUTIFUL SKIN TONES

> LARGE IMAGE FIELD

VAL OUT-OF-FOCUS HIGHLIGHTS > LOW DISTORTION

> CINEMATIC BOKEH

> FAST T-STOP OF 1.9


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entire family in jeopardy. Brian had thisbeautiful idea that rather than pushing inon Hans or playing the shot in close-up, weshould pull out very gently from Hans andRosa, who is trying to comfort him. We seethe two of them framed in their little worldand can sense how trapped they are.

How did you approach theKristallnacht sequence?

Ballhaus: That sequence is anotherinstance where we went handheld foremotional impact. Fortunately, [A-cameraoperator] Florian Emmerich is particularlygifted in that capacity, and we could shootmost of this difficult sequence in a verydynamic way. The exception is the lastimage, a high-angle shot we did with a 30-foot Technocrane to [suggest] Deathspoint-of-view. Initially we thought of play-ing the whole scene from a high angle, butBrian thought that might make it almostpretty and graceful, which was the lastthing we wanted to do. We wanted to putyou in the belly of the Nazi beast. We useda lot of blue, yellow and cyan motivatedby neon signage on the storefronts to

create a sense of urban danger. We put a20-by-30-foot soft box on a huge scissor liftto create a backlight wash on the Kristall-nacht set [constructed at BabelsbergStudios]; we placed the soft box just beyondthe faade of the buildings and putCondors on either end of the street. Wehad to return the scissor lift long before wewanted to because Airbus couldnt finishbuilding their planes without it!

What was your approach to the

Nazi rally and book burning in Lieslsvillage?

Ballhaus: Thats one of the pivotalmoments in the story because she suddenlyrealizes that what she thought were joyful,patriotic activities, like singing Nazi songs,are not so innocent. When the school bullyorders her to throw a book into the bonfire,she has to decide who she is as a person.For the shot of Himmel Street residentsarriving at the rally, we again chose a highangle with the Technocrane. Its nighttime,and people are carrying torches. The bonfirewas our main source, and we tried to lightas much as possible with real flames andthen augmented with flame bars. Germanchild-labor laws dont let kids work past 10p.m., and it didnt get dark until 8 p.m., sowe got an enormous tent, blacked it outinside, and did all the closer shots in therewith flame bars.

Tell us about the library that Ilsa[Barbara Auer], the mayors wife, opensto Liesl.

Ballhaus: That house, both exteriorand interior, was a practical location, and

we dressed one of the rooms to look like alibrary. When Liesl first enters the house,there had to be an element of danger andfear because she has no way of knowing ifIlsa will be a friend or foe. Im a huge fan ofHitchcocks Notorious, and it inspired ourapproach to the scene where Liesl first stepsinto the foyer. The surprise is that the libraryis warm and inviting, filled with the colorsand textures of the books, as well as warmpracticals. We had 18Ks outside the librarys

back window and a 6K out the sidewindow, all bounced into 12-by-12s ofUltraBounce. Inside, China balls and Rifalights gave Liesl a beautiful rimlight. Later,when she starts breaking into the house, weturned off all interior practicals to eliminateany sense of warmth.

An earlier scene of Liesl and Rudy[Nico Liersch] racing down a street has afeeling of innocence and exhilaration.

Ballhaus: The running was animportant element because it is the onlyexpression of their childhood joy and free-dom. We had a stabilized remote head on acamera car, so they could really run all out.For their regular walk-and-talks, to and fromschool, the camera was handheld on a rick-shaw.

For the final sequence of the film, weeffectively depart from the intimate perspec-tive and adopt a high-angle, detached view,again with the Technocrane. This vantagepoint makes it clear we are firmly in Deathspoint-of-view. The air is thick with dust andfog. We used Condors with 20-by whitesolids to block out the sun and bounced theremaining available light into UltraBounces.

How did you approach the DI atTechnicolor London, and were thefilmout and DCP 2K or 4K?

Ballhaus: They were 2K. [Colorist]Paul Ensby really understood the look Brianand I wanted, and with the [Autodesk]Lustre he applied a print emulation thatgave the palette a very filmic tone. There is atendency in digital for the blacks to becomered, and by adding cyan to the blacks, Paulachieved a very film-like look.

I had so many great collaborators onthis show. In addition to Paul, Dan, Janoschand Florian, whom Ive already mentioned,my 1st AC, Peter Byrne, and key grip, FlorianPrinz, were brilliant. Our visual-effects super-visor, Florian Gellinger, also did an amazing

job. My first name is very unique in theUnited States, but on this film, there werefour Florians!

TECHNICAL SPECS

2.40:1

Digital Capture

Arri Alexa, Alexa XT

Leica Summilux-C and Angenieux Optimo


Gaffer Janosch

Voss providesfill with aChina ball

during a walk-and-talk.


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The Sting of the 70sBy Mark Dillon

American Hustle is a fictional dramainspired by a controversial FBI operation thatnabbed crooked government officials atfederal, state and municipal levels in the late1970s. Code-named Abscam, the initia-tive was run out of Long Island, N.Y., andused undercover methods and the help ofconvicted con man Melvin Weinberg. Thefilm traces five characters and their respec-tive schemes: Weinberg-like con man IrvingRosenfeld (Christian Bale) and his equallyduplicitous British mistress, Sidney (AmyAdams), are forced to work with FBI AgentRichie DiMaso (Bradley Cooper) on thesting, which targets New Jersey politicianCarmine Polito (Jeremy Renner), amongothers. Meanwhile, Rosenfelds vengefulwife, Rosalyn (Jennifer Lawrence), threatensto blow down the whole house of cards.

The production is the first collabora-tion between director David O. Russell and

cinematographer Linus Sandgren, FSF.Russell sees the film as the final installmentin a loose trilogy that includes The Fighter(AC Jan. 11) and Silver Linings Playbook.Its about people who are reinventingthemselves from the start of the movie,when they are in a broken place, saysRussell. Its about very specific characterswith very specific worlds, and theyre asdramatic and emotional as they are funny.They have their enchantments. The way

they drink, eat, dance, make love and listento music is as important to me as the story.

Russell approached Sandgrenbecause he found the cinematographerslast feature, Gus Van Sants Promised Land(AC Jan. 13), beautiful and lush, which isthe visual tone he wanted for AmericanHustle. They moved forward together aftera couple of Skype conversations. I dontlike pretense in filmmaking, Russellobserves. Linus is not a pretentious person,yet he is an artist. Hes very collaborative,easygoing and passionate, and has strongopinions that come from his soul, and thatsall stuff I want. Also, hes willing to throwdown and run-and-gun the way we hadto!

Principal photography ran 42 days,and Sandgren estimates that it involvedmore than 100 locations. Although thestory is set in New York and New Jersey, theproduction shot largely in Boston andsurrounding cities, in part because entireblocks in those areas have changed little

since the 1970s. Many interiors and exteri-ors were captured in Worcester, whileMalden substituted for Camden, N.J., andMedford provided the Rosenfelds LongIsland home. Warehouse space in the areawas used for set builds that included hotelinteriors and Sidneys Upper East Side apart-ment. Politos office and a legal firm wereshot in Salem. Sandgren says he and gafferPatrick Murray had a very happy andsmooth experience with New England

lighting-equipment house High Output andits Charles River Studios location, where thecrew shot poor-mans-process car scenes.The production wrapped with a few daysshooting in New York City, grabbing exteri-ors such as the Plaza Hotel.

Russell professes great affinity for

1970s American movies, and says he wasinspired onAmerican Hustle by Chinatown(AC May 75) and the films of Hal Ashby.Sandgren, meanwhile, avoided othermovies in the course of two months ofprep. Instead, for inspiration he lookedback on documentary photography fromthe period, mainly Fred Herzogs work, hesays.

We didnt use very precise [visual]references, Sandgren continues, but aswe were driving around in the van, scout-ing, David kept telling us the story of thefilm from the different perspectives everyday, all the time. He described a colorful andenchanting world, and an intimate and rawfeel. He wanted to see the blood in theactors faces.

I wanted the actors to shine, so mymain approach was to always add colors tothe light, to make it juicy, he continues.The actors keylight was often shiny gold,which we created with warm practicalshades, dimmed tungsten lights likepancakes, or Peppers gelled with Straw103. As fill, I always brought in comple-mentary colors a lot of cyan, greens,pinks and reds in the interiors to enhancethe colorfulness of the scene. I workedclosely with our production designer, JudyBecker, and costume designer, MichaelWilkinson, to create a lush palette. We allappreciated texture, so wallpaper andcostumes had a lot of that.

Sandgren filmedAmerican Hustle in2-perf 35mm Techniscope for a final aspectratio of 2.40:1, a strategy Russell also

employed on The Fighter and Silver LiningsPlaybook. I wanted to shoot on film, andthere was a discussion about it, Sandgrenrecalls. If you want a colorful, rich-lookingperiod film, I feel its easier to get there bypushing film stocks than by going digital.He initially suggested shooting anamorphicas well. We wanted to give the film that1970s texture, and I felt that vintageanamorphic glass would give us that,Sandgren says. We wanted characteristics A

i

H

l

h

b

F

i D h

l S M P S P

f S

P i

E

i

From left: Sidney (Amy Adams), FBI Agent Richie DiMaso (Bradley Cooper), New Jersey politicianCarmine Polito (Jeremy Renner) and Irving and Rosalyn Rosenfeld (Christian Bale and Jennifer

Lawrence) are the players in an FBI sting in American Hustle, shot by Linus Sandgren, FSF.

I


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like [lens] flares, as well as elements thatcould be more rough and a little gritty.

But shooting anamorphic wascomplicated by Russells preference forshooting long takes on a Steadicam a 4-perf 400 magazine would have run 4.4minutes. In fact, Sandgren says, after thefirst couple weeks of shooting, the filmwent completely into Steadicam.

The cinematographer describes thetypical approach to a scene: David is a verypassionate storyteller, and he involved us all

deeply in the story. He played a lot of musicon set and even sang for us. We would talkthe scenes through, then he would rehearsethe actors properly, and then wed basicallyjust start the camera. David often came upwith new lines of dialogue and found newcamera angles as we were rolling, forcingprops and set to remodel for the camera.He kept us all at full attention! He inspiredthe actors and a 20-person orchestra ofcrewmembers to improvise and do our best

work. It was like playing jazz.This improvisational approach made

the 2-perf format, with its 8.8-minutemags, more attractive. I also thought theadded grain of 2-perf would help with the1970s look, says Sandgren. Two ArricamLites were the main cameras, and theproduction occasionally used an ArricamStudio. Geoffrey Haley was the A-camera/Steadicam operator, Greg Lunds-gaard handled the B camera, and DavonSlininger operated C camera. David Thom-

son did some additional B-camera work.Sandgren and Russell watched the actiontogether on a wireless handheld monitor(provided by Wolf Seeberg Video), whichallowed them to walk and talk and figureout camera positions on the fly. I dontstand by any video village, Russell says.

Sandgren chose old Canon K35 andZeiss Standard Speed T2.1 prime lenses,which were provided (along with thecameras) by CamTec in Burbank. The 24mm

was the favorite, given the mostly tight loca-tions and Russells compositional style. Ilove a face way up in the foreground andthen people two or three layers deep, thedirector says. Sandgren adds, A wider lensis better if you want to see whats going onin the background, and there were always a

lot of people in our shots. However, wedidnt want it to look distorted, and it feltlike the 24mm was perfect on 2-perf.Sometimes we changed it for a tighter lens,but generally we just moved in [with the24mm] because wed basically shoot wholescenes in one take all the angles.

American Hustlewas shot on FujifilmEterna Vivid 500 8547 and Vivid 250D8546, both of which were discontinued inMarch 2013, just as the production got outthe door. Sandgren notes that on Vividstocks, light from Cool White fluorescenttubes reads as rich green-and-blue hues.We used it as a positive color, he says. Inreal life, the fluorescent tubes in most places say, in the subways of New York aredirty looking. But with Vivid we got a swim-ming-pool color, which we used to a greatextent in the backgrounds.

Russells shooting style necessitatedlighting for 360 degrees, so in prep, Sand-gren worked with Becker and set decoratorHeather Loeffler to incorporate golden andwarm white practicals into the sets to serveas keylights. He credits Murray and key gripAnthony Cady with extensive pre-lightingand pre-rigging; their crews gelled windowswith NDs to balance interiors with exteriors,and supplemented natural daylight fromoutside with a mix of ArriMax 18s, ArriMaxM40s and ArriSun 60s through diffusionframes and silks. We also oftenaugmented with daylight 2-by-4-bank KinoFlos over windows, which complementedthe golden practicals or Cool White tubesnicely, adds Sandgren.

At night, we usually used Condorswith 12-light Maxis gelled with urban vapor,backlit to camera. I was always trying to mixcolors to help give the rooms depth forexample, tungsten with 103 as one colorand mercury-vapor as another. To simulatemercury vapor, we used Cool White fluores-cents or tungsten with CTB and PlusGreen, or HMIs with CTO and PlusGreen.

My strategy was to light the set so

Top: DiMasoand Rosenfelddiscuss artistryand more at alocal museum.Bottom: Withgaffer Patrick

Murraywielding an

LED China ballto provide fill,

the filmmakerscapture the

scene.


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that when you stood in the middle of it, thebackground was properly illuminated, hecontinues. But in some cases, if that hadbeen the extent of the illumination, theactors would have looked too dark, and wewanted them to shine. The solution was aChina ball full of LED LiteRibbon that was

rigged on a sound boom and carried aroundby Murray. We could dial the LiteRibbonbetween daylight and tungsten and alsodim it, Sandgren explains. Patrick ranaround with it to fill faces. As the cameramoved 360 degrees, the shiny fill light wasalso moving, so you cant see it. Patrick

would find the position and dial it down orup a little. He was basically painting withlight spontaneously! With that, we couldmove around in that moody world in an inti-mate style and still give the actors that shinylook. That China ball was our savior!

The DI was performed at EFilm in

Hollywood by colorists Yvan Lucas and TomReiser, who graded on an Autodesk Lustre.An Arriscan was used to scan the film nega-tive at 6K for 4K output, and an Arrilaserwas used for the filmout. Sandgren partici-pated in the grading remotely on weekends,monitoring the teams work from a theaterat Company 3 in London and conveyingfeedback by phone. Sandgren says thedegree of grading was not huge andlargely addressed skin tones. Yvan andTom did delicate adjustments to the naturalprint colors, he says.

Musing about Russells think-on-your-feet methods, Sandgren concludes,David carries the film close to his heart, andhe projects that onto his crew as the camerarolls. He encouraged all of us to performfearlessly. It was a very emotional and inspir-ing experience.

TECHNICAL SPECS

2.40:1

2-perf Super 35mm

Arricam Lite, Studio

Canon K35 and Zeiss Standard Speed

Fujifilm Eterna Vivid 500 8547, 250D 8546

Digital Intermediate

ASC to Salute Cundey,Serra, Rawlings Feb. 1ASC members Dean Cundey,

Eduardo Serra and Richard Rawlings Jr. willbe honored for their respective bodies ofwork at the 28th Annual ASC Awards for

Outstanding Achievement in Cinematog-raphy next month.

Cundey will receive the ASC Life-time Achievement Award in recognition ofhis work on such features asJurassic Park,Who Framed Roger Rabbit, Back to theFuture, The Thing and Halloween.

Serra, who was born in Portugaland resides in France, will receive the ASCInternational Award. His credits include

Defiance, Blood Diamond, Girl with a PearlEarring, The Wings of the Dove and TheHairdressers Husband.

Rawlings will receive the ASCCareer Achievement in Television Awardfor his work on such series as Desperate

Housewives, Boston Public and L.A. Law.The ASC Awards will be held Feb. 1

in the Ray Dolby Ballroom at Hollywood &Highland in Hollywood. As part of thefestivities, the Society will host an OpenHouse Jan. 25 at the Clubhouse, 1782 N.Orange Dr., Hollywood.

For more information, visitwww.theasc.com or call (323) 969-4333.

ERRATUMOn page 34 of our Oct. 13 issue,

we incorrectly identified the crewmem-ber pictured with Don Jon directorJoseph Gordon-Levitt as the films cine-matographer, Thomas Kloss. Kloss is not

in the photo.Here is a photo of Kloss at work

on the production.

Top: Rosenfeldand Sidney, his

mistress, getclose amid some

dry cleaning inthis frame grab.

Bottom (fromleft): Script

supervisor TracyScott, Sandgren

and directorDavid O. Russellwatch Bale and

Lawrence play ascene.


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After a New York Film Festival screening ofInside LlewynDavis, someone asked directors/writers Joel and EthanCoen about the meaning of Ulysses, the cat in the film.One of the brothers deadpanned, We wanted to make

an odyssey where the hero doesnt go anywhere.Set in the early 1960s, Inside Llewyn Davisfollows a

struggling folk singer (played by Oscar Isaac) in New YorkCity who sleeps on friends couches, occasionally plays theGaslight Caf, pines after his friends partner, Jean (CareyMulligan), and pursues said cat after it escapes from another

friends apartment. Davis also goes on a car trip to see an influ-ential manager in Chicago in an attempt to jump-start hiscareer.

Despite flashes of humor, a sense of sadness andpessimism pervade the story, and this is underscored by thebleak, muted cinematography by Bruno Delbonnel, ASC,

AFC. In fact, Delbonnel describes the film as a kind ofrequiem for Davis late singing partner, Mike, who hascommitted suicide before the story begins. When I read thescript, I thought it was like a folk song, and it seems to me that

American folk songs have something very sad and unhappy intheir stories, he observes. That was the idea behind the lookof the movie: How to convey this sadness?

The cinematographer recalls that the visual brief fromthe Coen brothers was deceptively simple. They said they

wanted a slushy New York. When I suggested the album coverfor The Freewheelin Bob Dylan, they said they had that imagein mind as well. In that picture, Dylan walks with a womanon a New York street under a wintry sky. He is wearing a

jacket that doesnt seem quite warm enough, and they aretreading on dirty, melted snow. We had to feel the winter and

Folk

ImplosionBruno Delbonnel, ASC, AFCand colorist Peter Doyle create aunique visual tone for the CoensInside Llewyn Davis.By Benjamin B

|



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www.theasc.com January 2014

At first, Delbonnel wanted tobring in a camera operator, but theCoens asked him to operate, like Rogerdoes, and he was delighted to comply.During prep, Lillian suggested adding aMo-Sys remote head and a jib arm to

Dec. 12), and the French cinematogra-pher was able to work with two ofDeakins regular collaborators, gaffer

William OLeary and key grip MitchLillian. Lillian recalls that Delbonnelquickly became part of the family.

that dirty feeling when the snow startsto melt, says Delbonnel.

Another inspiration came fromfolk singer Dave Van Ronk, whosealbumInside Dave Van Ronk features acat on the cover, and whose memoir,The Mayor of MacDougal Street, chroni-cles the milieu depicted in the film: theGreenwich Village folk scene just beforeDylan appeared and revolutionized

American music.Delbonnel shot the picture on

35mm with the same combination offilm negative, cameras and lenses he hasused consistently for five years: KodakVision3 500T 5219, Arricam Studioand Lite, and Cooke S4 primes. I alsohave a 24-290mm Angenieux[Optimo], just in case, he says. I dontlike zoom lenses, but they can be practi-cal.

The Coens often work with thesame crew, and their usual cinematogra-pher is Roger Deakins, ASC, BSC. Thedirectors called on Delbonnel becauseDeakins was busy shooting Skyfall (ACU

nitphotographybyAlisonRosa.Photos

andframegrabscourtesyofCBSFilms.

Opposite: LlewyDavis (OscarIsaac) takes thestage at theGaslight. Thispage, top: In aframe grabfrom the film,Davis arrivesin Chicago.Bottom:CinematographeBruno DelbonneASC, AFC filmsthe openingshot.


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straightforward, with angles andreverses for dialogue scenes, and fewunusual vantage points. Using theFrench word for shot breakdown,Delbonnel observes, The Coensdcoupage is very simple, very classical.

There are no embellishments.Though much of Inside Llewyn

Davis has classical editing, the filmmak-ers shot many scenes with continuousmaster shots, notably the musicalperformances, which were often filmed

without interruption. Lillian notes thatwith the Coens, a lot of the coveragehappens within the master. The masterstend to evolve into something elabo-rate. There are a few fast camera movesmotivated by the wayward Ulysses.Lillian cites a 100' dolly move on a New

York street that follows Davis as he triesto catch the cat. Fortunately, saysLillian, dolly grip Rick Marroquin is afast marathon runner!

Delbonnel has a predilection forsoft lighting. My signature is a source

with double diffusion, and sometimes Ido triple diffusion. Then, I add a littlefill inside, or not. If I do, its very soft,and its usually a poly [polystyrenebounce] or something simple. I rarely

use hard lighting, although I did for acouple of scenes on this film.

Lillian notes that Delbonneloften used book lights, with onebounce surface and another diffusion

Top: Jean (CareyMulligan) talkswith Davis inWashingtonSquare in thisframe grab.Bottom: Thefilmmakers captuthe pairs walk-and-talk.


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surface at 45 degrees. Usually, we aimedthe light into an Ultra Bounce and thendiffused it with a Light Grid Cloth.

When working in interiors,Delbonnel preferred to stay on set nearcamera, and left the details of creating

large external soft sources, including theinitial choice of diffusion, to OLearyand Lillian. I told them I wanted lightcoming in through here, with this angleof light, and then I let them work, saysDelbonnel. Then, if it wasnt diffusedenough, or if it was too diffused, Id askthem to change diffusion material.

In general, I start with too muchlight because its much simpler andfaster to add Grid Cloth and lower it 1or 2 stops than it is to change the source

to a smaller unit, the cinematographercontinues. I often start with an 18Kand big elevator stands because I maysuddenly decide to go up 6 meters. Mysource is always pretty heavy-duty tostart with, but its more efficient in theend. Thats the principle of a big source:

you can work very quickly.Delbonnel wanted to keep the

backgrounds of the interiors dark. Myidea was to light the characters in theset, add very little to the backgroundsand let the light fall off. Because thesource is rather close to the actor, thelight [falls off] quickly. My basic princi-ple was to always have black someplacein the image. He also often gave thehero a slightly higher contrast than theother characters in the scene.

Inside Llewyn Davishas a uniquepictorial texture: skin glows with asmooth sheen, there is an extendedrange of grays, and the colors are a littledesaturated. Delbonnel defined all thesedetails ahead of time by shooting testsand working with Technicolor supervis-ing digital colorist Peter Doyle, an ASCassociate member and frequent collabo-rator, to define the look. On all thefilms I work on, I try to have a conceptthat I stick to for the entire film, so thatI know what the DI will be when Imdoing my exposure on the set, saysDelbonnel.

Delbonnel notes that Doyle wasessential to defining the look of Inside


Folk Implosion

Top: Davis, Jim (Justin Timberlake) and Jean watch a performance in the Gaslight Caf.Middle: Davis meets Jim and Al Cody (Adam Driver) for a recording session.

Bottom: Delbonnel and co-director Joel Coen prep a dinner scene.


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Delbonnel and Doyle did thefinal grade in 2K at Technicolor-Postworks NY, using a Baselight with afair amount of custom tools, somedeveloped by ASC associate member

Joshua Pines, vice president of colorimaging R&D for Technicolor. The DI

was completed in about two weeks.Doyles approach to the digital

grade is to put an automatic correctionin place that is responsive to the images

exposure. He gives an analogy to soundrecording: If youre listening to a classi-cal-music recording and the soundmixer is constantly riding the faders, youkind of feel it. But if they set up reallygood microphones and just let it go, itbecomes more honest theres moreintegrity to it. In the grading world, wesometimes say, You can feel the grade.

You can feel the colorist riding theblacks and the whites, which is certainly

a valid aesthetic. But for a film likeInside Llewyn Davis, performance iseverything, and everything else justsupports that. Obviously, our grade is a

very strong manipulation, but I wasntchanging it on a shot-by-shot basis, nor

was I drawing all those shadows byhand. Thats what Brunos lighting wasfor.

Doyle is quick to add that thisinteractive DI approach is only possible

Right andbottom left:

Davis plays forBud Grossman

(F. MurrayAbraham) at theGate of Horn in

Chicago in theseframe grabs.

Bottom right:Isaac confers

with Joel Coen.

Folk Implosion


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with someone as precise as Delbonnel.This works because Bruno is so metic-ulous about his exposures. He knowsexactly what will happen [in the DI], sohe can light for it, whereas if I wereconstantly bending the gamma andchanging everything on a shot-by-shot

basis, he wouldnt really know what hiscontrast ratio would be. I grade for hislighting, and he lights for my grade.

Delbonnel likens his digital workwith Doyle to a special lab process suchas ENR. Its exactly the sameapproach: When you use ENR, you

dont expose normally, you expose forthe ENR.

Doyle explains how they arrivedat Inside Llewyn Davis unusual pastelcoloring and pale flesh tones: I got ridof the blue channel, which I do a lotthese days, and remapped the colors sothat the skin tones had just enough of atwist to not be realistic, to be a littleromanticized, like a memory. To desat-urate the skin would look unnatural, soinstead we bent the RGB curves of thenegative so the skin tone would becompletely neutral with Brunos expo-sure. Its a very delicate thing to do.

This film couldnt be beautiful orgolden it had to be uncomfortable,Delbonnel says. The question was howto come up with a very sad, very dirtyimage without falling into the extremeof a completely blue winter, which boresme you know, yellow equals warm,blue equals cold. We went toward dirtymagentas and cyan, two colors thatoppose each other.

Delbonnel and Doyle alsoapplied a bloom to the image, suffus-ing the highlights with a softenedtexture. The bloom was a way to

Folk Implosion

Top: Davisthumbs for a

ride along thehighway.

Bottom: Theexhausted

singer restson the bus.


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smooth things out, and it was part of thesadness I wanted, says the cinematogra-pher. I wanted the feeling of old lenses

without coating, with a lot of flare andblooming. You sense that the whites areexploded. Peter and I went very far, andit interested the Coens a lot because theimage has an old, rather strange look.

Delbonnel strove to create animage with limited contrast and a widepalette of gray tones. There are realblacks, but a very great latitude of grays

moments when we couldnt do it, likethe gas-station exterior. I added a lot offrontlight, but some contrast remained.So, in the DI, we darkened the image.

Delbonnel lit many interiorswith simple soft light. Early in the film,

Davis arrives at Jeans and meets Troy, afolk-singing soldier. The Coens shottwo angles on the dialogue sequence:one shot going from Troy to Jean witha window in the background, and oneon Davis with a dark background. Tolight Troy and Jean, Delbonnel hungabout 6' of unbleached muslin on a C-stand and bounced a Joker 800 HMIfitted onto a Leko fixture. The cine-matographer likes the Lekos smallplane shutters, which allow for cutting

the light without changing its quality.You dont need to diffuse because itsalready so diffused, and it gives whatsneeded without fill, he observes.

Delbonnel adjusted the intensityof the soft lighting to match changingdaylight. Fortunately, it was a grayday, he recalls. The name of the game

was to balance the source with daylight.We could easily change the intensity ofthe light by simply swiveling themuslin. We put a second source aimedat the muslin and left it off. That way,

we could add level if there was a lot ofvariation outside. He also added somenegative fill on Mulligans right side toshape her face.

By the time the team changedangles to shoot Davis, the daylight wastoo feeble. Delbonnel had his crewhang a light box with 3'-square LEDpanels from the windows on the floorabove. The boxes were hung above theapartment windows, hidden from thecamera for the first angle, and then

were lowered to shine through thewindows once the daylight faded.Delbonnel added a small Grid Clothframe close to the actor to diffuse thehard LED sources; the light then felloff in the background. The lighting isdifferent on him, more directional. Iliked it being a little hard. Though thetwo angles match, the slightly harderlighting on Davis serves to isolate himfrom the others.

and very few whites, he says. Youalways need some white to give a refer-ence, like the blacks. To get that bigrange of grays meant lighting a lot,because you have to expose to get grays.

He maintained a firm grasp oncontrast ratios in interiors and, withmore difficulty, exteriors. His goal wasto obtain a reduced latitude. Mostscenes have a very low contrast ratio,maybe 5 stops from the whites to theblacks, says Delbonnel. There are

Folk Implosion

Delbonnel checks the light on Isaac for two different scenes.


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When Jean meets Davis in a caf,the filmmakers staged the scene at atable next to the window. The mainsource came from two low Arri 18KHMIs bouncing up into a horizontalGrid Cloth frame outside, right above

the window. Delbonnels crew had to beready to quickly change levels to matchthe background buildings outside the

window. To keep the contrast constant,we added singles and doubles to thesource as the outside light fell, recallsthe cinematographer. Because theoutside was a little overexposed, thestreet contrast was already diminished,so there are no blacks, only grays.

Its the same lighting on both ofthem, with a little more fill on her Ido take care of my actresses! There wasa white diffusion frame above her todiffuse the light a little. We kept him alittle darker, and hes a little closer to the

window. We may also have had a littlepoly on her as well, to unclog theblacks.

On day exteriors, Delbonnelsought to reduce contrast by adding softfrontlight. When Davis and Jean meetin Washington Square Park, the cine-matographer used the cloudy daylightas his bounce source. His crew posi-tioned four 12'x12' frames of UltraBounce covered with unbleachedmuslin around Mulligan, two on eachside of camera. The frames were veryclose to Carey, maybe 3 meters [10']

Most sceneshave a very lowcontrast ratio,maybe 5 stopsfrom the whitesto the blacks.


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away, recalls Delbonnel. It was a grayday. To adjust the level of fill, he either

changed the inclination of the frames oradded solids to reduce the bounce. Thelighting on Davis is similar, but with alittle less fill. Thats my principle: I

work with contrasts of very soft light,says Delbonnel.

He turned to hard light for two

sequences, the Gaslight Caf, whereDavis takes the stage and also sits in the

audience, and the Gate of Horn inChicago, where Davis does animpromptu audition for Bud Grossman(F. Murray Abraham), a powerful musicmanager. The Gaslight was re-createdin a New York hangar, and Delbonnelstarted by setting a level of fill from

above with a grid of about 2,000 15-watt bulbs on the ceiling. That gaveme a fill-light base, so I didnt have tospend my time adding fill. I needed tomodulate this fill, so we turned thesestrings of bulbs on and off by sections.

The fill light was my exposure refer-ence, at 2 stops under.When Davis is onstage,

Delbonnel added two hard sources, a1K Par 64 pointing straight down, andan 800-watt follow spot from the side,

with beams that fell near the actor with-out lighting him directly. The cine-matographer filled the space withsmoke to make the dark areas morereadable.

In another Gaslight scene, Davis

and Jean are seated in the audience andjoined by Jim ( Justin Timberlake).Delbonnel lit the table with a 1KDedoflex Octodome on the right offrame. Its very soft and diffused, henotes. The backlight in the background

was provided by a 2K open-faced

Folk Implosion

8

Ethan (left) andJoel Coen joinDelbonnel atthe monitor.


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Blonde, and there were also a few otherhidden lights.

When Davis goes to Chicago, hehas a fateful meeting with Grossman,

who asks him to perform one of hissongs in the empty club. The Coens

were unsure about how to render thispivotal point in the story. When Ispoke about it with Joel and Ethan, they

would say, We dont know how to do it,but we want it to be different from therest of the film, Delbonnel recalls. Ididnt like the set because it was toodark, but Joel wanted to shoot thereprecisely because it was dark.

Delbonnel set up two 20Ks toshine harsh beams of daylight throughtwin entry doors onto the manager;

these did not reach Davis face. A20'x20' Mattflector out of framebounced light back into the room toprovide general fill. Delbonnel addedsome fill to the darkened singer bybouncing a 10K on some unbleachedmuslin laid out on the floor. The resul-

tant scene is in stark contrast to the restof the film, with violent highlights anddeep shadows.

Looking back at his collaborationwith the Coen brothers, Delbonnelsays, It was a pleasure and an honor to

work with them. They gave me totalfreedom from the beginning to the end.Peter and I did the DI without them thats how much they trusted us.

When we finished the DI, wewatched the film together, and theymade just two or three comments.

There were one or two scenes that theyfelt were a little too dark. For example,they wanted it a little brighter on Oscar

when he sings in the Gate of Horn, andthey were right. I think it was the only

power window we did!

TECHNICAL SPECS

1.85:1

35mm

Arricam Studio, Lite

Cooke S4

Kodak Vision3 500T 5219

Digital Intermediate


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Fantasy and reality mergeto spectacular effect inThe Secret Life of Walter Mitty,

directed by Ben Stiller and shot byStuart Dryburgh, ASC, NZCS.

By Iain Stasukevich

|

DaydreamBeliever


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James L. Thurbers short story TheSecret Life of Walter Mittyis the livelytale of an excruciatingly ordinaryman with an extraordinary imagina-

tion, and since its publication, in 1939,its titular character has become acatchall reference to daydreamers every-

where. Hes a classic everyman with arich fantasy life, observes StuartDryburgh, ASC, NZCS, who shot thenew adaptation of Thurbers story fordirector Ben Stiller. Stiller, who alsoplays the title role, says Thurberscreation resonates because the idea ofthe life we lead in our heads, the things

we feel but dont say, the person weimagine ourselves to be, is something allof us can relate to. Its really humanstuff.

In the film, Mitty works as anasset manager for Life magazine, wherehe manages a vast archive ofphotographs. He is contending withchange in almost every area of his life:his mother (Shirley MacLaine) ismoving into an assisted-living facility,Life is downsizing and preparing totransition from print to digital publica-tion, and his romance with a co-worker,Cheryl (Kristin Wiig), is just getting offthe ground. When Lifes most cele-brated photographer, Sean OConnell

(Sean Penn), suddenly disappears withthe negative for the publications finalcover shot, Mitty hits the road to trackhim down.

There is a moment early in thefilm where Mittys assistant, Hernando(Adrian Martinez), pledges solidarity

with OConnell because the photogra-pher still shoots film. Appropriatelyenough, Dryburgh and Stiller also shoton film, a choice Stiller calls important,

if only from a karmic viewpoint. Afterall, the story is about an analog guycaught in the transition to a digital

world. But I love film and will alwaysprefer it; I think it might be a genera-tional thing.

Dryburgh notes that there werepractical considerations as well. Filmcameras are still a bit more rugged thandigital cameras, so there are practicaladvantages when you get into ruggedU

nitphotographybyWilsonWebb.Photosandframegrabscourtesyof20thCenturyF

ox.

Opposite: Mild-mannered Walter Mitty (Ben Stiller) is drawn into an amazing adventure inThe SecreLife of Walter Mitty. This page, top: Mitty works in the Life photo archive with Hernando (Adrian

Martinez). Bottom: Stiller dons his directors cap to work out a shot with Stuart Dryburgh, ASC, NZCS


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environments like the ones in thismovie out on the water, in the rainand in the snow. Also, as an actor, Bencorrectly made the assumption that alot of actors make, which is that theylook a little better on film. No matterhow good the lighting, the digitalimage has an unflattering edge to it.

Working with an Arri packagecomprising Arricam Studios and Litesand a 435, Dryburgh shot on threeKodak Vision3 stocks: 50D 5203 forbright sun, 250D 5207 for bright dayinteriors and magic hours, and 500T5219 for other interiors and night

work. For city streets at night, Ill use5219 and push-process it, which bringsup the grain and the contrast, and I willalso overexpose, rating it at 800 ASA,he says. That way we can print downin post and bring the blacks back andsuppress grain. But actually, Im notsomeone who minds film grain.

The Life offices where Mittyworks, like all of the productions NewYork sets, were built onstage atKaufman Astoria Studios in Queens.(Office exteriors were filmed at the

Time-Life Building in Manhattan.)Ben wanted the vibe of JackLemmons office in The Apartment,

with 200 accountants clicking away onadding machines, Dryburgh recalls.That set had a lot of soft light builtinto it, but austere architectural lighting

Daydream Believer

Top: Mitty standsamid a swirl of

co-workers inthis frame grab.Middle: One co-

worker, Cheryl(Kristen Wiig), is

of special interestto him. Bottom:

Crewmembersfine-tune the

light in askyscraper

canyon for oneof the pairs

conversations.


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is not always the most flattering forpeople, so our challenge was finding thebalance.

To create ambience in the officeset, gaffer William OLeary and hiscrew rigged a grid of 6K space lightsbehind milk Plexiglas panels in a prac-tical ceiling, and then built large softboxes outside the sets wraparound

windows. The soft boxes were madewith just the chassis of 6K space lightsspaced about 2 feet apart, and each box

was on four chain motors so we couldlower, raise and tip them individually,says OLeary. We added 250 diffusionand 14 CTB to create a slightly coolersoft light to mimic sky light. When aharder source was called for, we had20Ks on Condors.

Dryburgh took a classicalapproach to lighting the actors, a softkey and not much fill, like the northlight of an open window in an artistsstudio, he says. It tends to look goodin almost every situation, and this is thekind of film where seeing the charac-ters expressions and emotions wasreally important. For Stillers deep-seteyes, he continues, keys tended to be alow, soft quarter-wraparound but with alittle more direction, on one side of theface, to bring out detail in his eyes.OLeary notes that Stiller could take alittle more contrast than Kristin [Wiig]could, so wed give her more backlight,

Top: Mittysnemesis, Ted (AdaScott, foreground

left), prepares tointerrupt Mittysreverie. Middle: A200' crane isdeployed tocapture an unusushot for an actionscene. Bottom: Thteam films Stillerfor another part othe sequence.


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and we tended to keep her key a littleflatter and bring it close to the lens.

Depending on the situation,keylights for both actors were 2KBlondes through a 12'x12' Light Gridframe, or double-diffused Mini-Brutes.Dryburgh tended towards larger diffu-sion sources, often using a 12'x12'frame of Full or Light Grid. For the

relatively small sets and locations, alarge diffusion was hung off horizontalrail and run up to the ceiling.

By contrast, the photo archivewhere Mitty works is dark and almostwomb-like. Dryburgh worked withproduction designer Jeff Mann to createa set lit almost entirely by practical desklamps, light boxes and overhead fluo-

rescents, with 6K space lights adding abit of ambience.

Filming outside the Time-LifeBuilding was impacted by a very short

window of direct sunlight, thanks toSixth Avenues skyscraper canyon. Atthe height of summer, when WalterMittywas in production, that windowwas 11:30 a.m. to 1 p.m. Much of thisaction consists of walk-and-talksbetween Walter and Cheryl. Thosescenes were very grip-intensive,OLeary recalls. Wed take direct sunoff the actors with some kind of 12-by-12 diffusion or a 20-by-20 SourceMaker Grip Cloud, and then key withlarge, soft sources on the ground,usually 18K HMIs through Full Grid.Many times wed put a muslin on theground and skip a 4K or a 6K into it tobring the source even lower.

We looked at architecturephotography by Julius Schulman andEzra Stoller, who shot a lot of the officebuildings on Sixth Avenue, Stillerremarks. The photos all had a verygraphic feel and a great sense of compo-sition, and Stuart and I talked abouttrying to frame Walter in a similar wayfor the first part of the movie hes

Daydream Believer

The filmmakersutilize the Mitty

Mobile, a trackingvehicle designed by

2nd-unit director PhilNeilson, to film partof Ted and Walters

battle over a StretchArmstrong doll.


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winches, says Dryburgh. Then, weused it like a giant pendulum, withabout five grips on the street manhan-dling it 70 or 80 feet back.

In another fantasy, Mitty imag-ines himself in a cartoonish battle overan old Stretch Armstrong doll with TedHendricks (Adam Scott), the corporatelackey supervising Lifes transition todigital. The struggle begins in an eleva-tor and quickly escalates into a super-powered slugfest, with the twocombatants smashing through the faceof the building hundreds of feet abovethe pavement. Dryburgh worked withDI colorist Stefan Sonnenfeld ofCompany 3 to build a subtle contrastand saturation ramp before thesequences hard transition into fantasy,

which occurs in the cut between theelevator and the building exterior as

Walter and Ted plummet towards theground. Walters fantasy world isalways sharper, brighter and more vivid,and in this transition especially so!Dryburgh says.

All of the full-blown fantasysequences were staged with a biastoward practical effects and stunts, and

then augmented with visual effectssupervised by Guillaume Rocheron.Of course, theres a lot of augmenta-tion in certain scenes, but I think the

most successful shots are the ones thathave as many practical elements aspossible, Stiller observes. Framestoresupplied umbrella visual-effects servicesfor the production, assigning smaller

scenes and tasks to a dozen vendors,including MPC Vancouver, whichhandled the fight between Walter and

Ted.The fight begins with both men

falling toward and then past the camerain midair. This shot was created on agreenscreen studio with a Libra-controlled Arricam Studio rigged to acomputerized monorail platform thattracked past the two actors as they hungsuspended in harnesses. The ensuingchase through the streets of Manhattanis completely wacky, says Dryburgh,

who turned this part of the sequenceover to 2nd-unit cinematographerCraig Haagensen. (The locationelements of the sequence were shot overseveral blocks in midtown over twoconsecutive weekends, with some pick-ups on Water Street in LowerManhattan.)

To create the impression thatWalter and Ted are literally tearing upthe streets on makeshift surfboards,Lillian had electric carts mounted withan Aerocrane jib arm and Libra headfrom Monster Remotes. The actors andtheir stuntmen mounted skateboards or

Daydream Believer

Mitty leapsfrom a

helicopter into astormy, shark-infested sea in

this frame grab.

When it came timeto shoot with Ben

in the actualstormy ocean, we

had multiplecameras running.


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motorized carts, or were puppeted fromthe Mitty Mobile, or MiMo, acustom tracking vehicle devised by2nd-unit director Phil Neilson. Thefull-sized MiMo consisted of a cage

welded to the frame of a choppedChevrolet pickup body. The actors weresuspended from the end of a 20'cantilevered pipe truss andphotographed by a Libra-mountedcamera at the end of a 23' Scorpiocrane. A Honda 6500 generatorprovided additional juice for runningonboard HMIs.

Stiller and Dryburgh alsodecided to alternate between anamor-phic and spherical lenses to distinguishbetween fantasy and reality. All of thereality sequences in New York in thefirst part of the film were shot in 4-perfSuper 35mm with Cooke S4 primelenses, and all of the fantasy sequencesin this portion of the story were shot

with Vantage Hawk V-Lite 2x anamor-phic lenses. When Mitty is tasked withrecovering OConnells missing nega-tive, a shot of Mitty sprinting down ahallway past oversized versions of iconicLife covers precedes his arrival inGreenland, OConnells last knownlocation. From that moment on, the

entire color palette and contrast beginto take on the values of the fantasy

world: vivid, saturated and contrasty,says Dryburgh. At this point, the cine-matographer switched to Hawk V-Lite1.3x lenses, which he used for the rest of

the story. We wanted to keep theanamorphic look, but we also wantedmore flexibility with depth-of-field anda bit of extra picture outside of theScope area for visual effects, Dryburghexplains.

The filmmakers used a 4-perf1.37:1 Academy gate, meaning the 1.3xanamorphosis would un-squeeze with

an effective 1.78:1 ratio, from which a2.40:1 extraction was taken. What Ilike about the 1.3 squeeze is that it gives

you an anamorphic finish, and thelonger lenses have the shorter depth-of-field qualities of anamorphic while the

wide lenses perform more like sphericalwides, says Dryburgh. You get deepfocus from 20mm all the way up tomaybe 55mm, and over 60mm or70mm the focus falls off quickly, as with2x anamorphic. These lenses are alsocrisp across the whole 2.40:1 frame,avoiding the softer edges of fullanamorphic lenses.

After filming in New York, theproduction moved on to Iceland, which

was used as itself and for parts ofGreenland and Afghanistan. (At thispoint in the shoot, gaffer Mo Flamstepped in for OLeary.) The amazingthing about Iceland is that its a smallcountry but has an amazing range oflandscapes: deserts, lava and mossfields, and green pastures, notesDryburgh. The filmmakers soughtlocations with inherently distinctivecolors; Greenland was rendered ingreen tones, with much of the photog-raphy captured on Icelands westerncoast, whereas the Iceland portion of

Mitty races across a grand bridge in this frame grab.

Iceland is a smallcountry but has anamazing range of

landscapes.


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the story featured the earthier shades ofits higher plains. Our approach wasntabout applying a look apart from somesubtle grading choices, says Dryburgh.We celebrated and accentuated thecolors of the landscapes and the sky as

they were.Icelands northerly latitudeinitially offered the production longdays of low sunlight. Whats hard isthat the sun is always coming and goingbecause of all the clouds, says Flam,and when the light does change, itchanges rapidly. In early August 2012,the sun rose at 4:30 a.m. and set at10:30 p.m., but by the end ofSeptember, daylight had already short-ened to 11 hours. We had to be light

and fast in Iceland the word nimblecame up a lot! Dryburgh recalls.Flam used a small HMI and

tungsten lighting package augmentedwith a number of MacTech LED units.The MacTechs dont use a lot ofpower, but they pack a lot of punch, hesays. For 10 or 20 amps, you seem toget five times what youd get with a

Daydream Believer

Top: Mitty isguided through

the hills inIceland. Bottom:The filmmakers

prep a cranemove for akey scene.


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comparable HMI, and you can runthem on small generators or portablelithiu

Documents

American Cinematographer - January 2014 (Gnv64)