American Cinematographer - January 2008 - (Page 68) Very Close Shaves “Tim is really a one-camera director,” says Wolski. “This was the first movie I’d done in years where I had the luxury of using one camera quite often.” to use a lot of dance floor, which allowed freer movement. But in the streets, we mainly used track.” The production’s camera package came out of Panavision London and comprised two Panaflex Platinums and a Millennium XL, along with Primo primes and a Primo 4:1 (17.5-75mm) zoom. Lens choices were “very conventional,” says Wolski, “24mm or 27mm or 30mm for masters, and 40mm or 50mm for close-ups. It was more about finding a nice frame than accentuating things.” Most of the picture was shot without filtration, but Wolski used Dior black stockings for the flashback scenes, further distancing those sequences from the funereal present. “I put a net behind the lens to give those scenes a slightly softer look and make the candles flare a bit more and the faces glow,” he says. “It’s a very old-fashioned trick, and I wouldn’t do it on a contemporary movie because it can become pretty obvious.” Conroy adds, “We could put the stockings on little net holders that screw into the back of the Primos. That way we could have them all pre-made and we didn’t have to put them straight on the lens.” Throughout the shoot, the production’s footage was developed at Deluxe London, where color timer Russell Coppleman prepared digital dailies. “The look had been 68 http://www.go-easylighting.com http://www.go-easylighting.com
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