American Cinematographer - January 2010 - 26

Left: A Visqueen “cloud” was used onstage for a lighting effect in an Imaginarium-set sequence with Tony (Jude Law). Right: Tony (Johnny Depp) guides a woman (Maggie Steed) through the Imaginarium while director Terry Gilliam looks on. filmmakers also shot extensive model work at Bray Studios near Windsor, Berkshire in the U.K.) When AC enters the stage, a manmade hill fills half the floor, with Law resting at the top next to a gnarled tree, his face dirtied and his neck in a noose. Some 50 space lights have been rigged from the stage’s ceiling and run through a board for selective control of ambience, while Kino Flo Image 80s line the perimeter to illuminate the bluescreen, which hangs along all four stage walls. “We’re shooting mostly at T3.5 or T4, and the screen is around that level as well,” says Pecorini. “I always make sure the visual-effects guys are pleased with the nature of the screen, because they’re the ones who actually have to manipulate it. “The light is almost constantly moving or changing colors when we’re in the Imaginarium,” he continues. For example, after wrapping out the scene on the hill, the crew moves on to a sequence that will ultimately be set in a computer-generated 26 January 2010 valley with ladders reaching up into rapidly moving clouds. To simulate the clouds’ effect onstage, Pecorini explains, “I opted for a big piece of diffusion, about 40 by 25 feet, made of different layers of Visqueen for different densities, with some holes in it. In order to float it without producing a hard shadow, we had to support it with something that was transparent as well. We came up with helium balloons that we filled with different densities of smoke, and so we created a cloud on a leash that we could move in front of the lights.” In addition to playing in front of the space lights, the “cloud” is also walked in front of a row of four Jumbo lights mounted on a cherry picker for a directional source. Provided by the Rome-based company Iride, each Jumbo contains 16 600-watt GE aircraft-landing lights. The filmmakers’ references for the Imaginarium sequences ranged from painters like Maxfield Parrish and Odd American Cinematographer Nerdrum to illustrator Theodor Geisel, a.k.a Dr. Seuss. To keep their ideas in order, Pecorini assembled his “bible,” which includes references, notes, sketches and other material. “I do a bible for every movie,” he explains. “I learned very early on, even before I was a cinematographer, that a lot of things get said during prep and then forgotten. The bible is a way of keeping track of those ideas. We also put in all of the technical pieces we need in a scene, so it becomes a bit like an enriched creative breakdown.” The bible became especially dense for Parnassus, whose short shooting schedule and tight budget necessitated detailed storyboards for every visual effect. “Because we had to be so precise, Terry and I actually stuck to the storyboards and the previs much more than we usually would,” says Pecorini. “We normally do all of these preparations, and then on the day, we do what we feel like.” ➣

American Cinematographer - January 2010

Table of Contents for the Digital Edition of American Cinematographer - January 2010

American Cinematographer - January 2010
Contents
President’s Desk
Short Takes: Hyundai Sonata Campaign
Production Slate: The White Ribbon • The Imaginarium of Doctor Parnassus
Conquering New Worlds
Watchful Spirit
Super Sleuth
The Right Stuff
Editor’s Note
Post Focus: Technicolor Hollywood • HPA Awards
Filmmakers’ Forum: Shane Hurlbut, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Billy Dickson
American Cinematographer - January 2010 - American Cinematographer - January 2010
American Cinematographer - January 2010 - Cover2
American Cinematographer - January 2010 - 1
American Cinematographer - January 2010 - 2
American Cinematographer - January 2010 - Contents
American Cinematographer - January 2010 - 4
American Cinematographer - January 2010 - 5
American Cinematographer - January 2010 - 6
American Cinematographer - January 2010 - 7
American Cinematographer - January 2010 - 8
American Cinematographer - January 2010 - 9
American Cinematographer - January 2010 - President’s Desk
American Cinematographer - January 2010 - 11
American Cinematographer - January 2010 - Short Takes: Hyundai Sonata Campaign
American Cinematographer - January 2010 - 13
American Cinematographer - January 2010 - 14
American Cinematographer - January 2010 - 15
American Cinematographer - January 2010 - 16
American Cinematographer - January 2010 - 17
American Cinematographer - January 2010 - Production Slate: The White Ribbon • The Imaginarium of Doctor Parnassus
American Cinematographer - January 2010 - 19
American Cinematographer - January 2010 - 20
American Cinematographer - January 2010 - 21
American Cinematographer - January 2010 - 22
American Cinematographer - January 2010 - 23
American Cinematographer - January 2010 - 24
American Cinematographer - January 2010 - 25
American Cinematographer - January 2010 - 26
American Cinematographer - January 2010 - 27
American Cinematographer - January 2010 - 28
American Cinematographer - January 2010 - 29
American Cinematographer - January 2010 - 30
American Cinematographer - January 2010 - 31
American Cinematographer - January 2010 - Conquering New Worlds
American Cinematographer - January 2010 - 33
American Cinematographer - January 2010 - 34
American Cinematographer - January 2010 - 35
American Cinematographer - January 2010 - 36
American Cinematographer - January 2010 - 37
American Cinematographer - January 2010 - 38
American Cinematographer - January 2010 - 39
American Cinematographer - January 2010 - 40
American Cinematographer - January 2010 - 41
American Cinematographer - January 2010 - 42
American Cinematographer - January 2010 - 43
American Cinematographer - January 2010 - 44
American Cinematographer - January 2010 - 45
American Cinematographer - January 2010 - 46
American Cinematographer - January 2010 - 47
American Cinematographer - January 2010 - Watchful Spirit
American Cinematographer - January 2010 - 49
American Cinematographer - January 2010 - 50
American Cinematographer - January 2010 - 51
American Cinematographer - January 2010 - 52
American Cinematographer - January 2010 - 53
American Cinematographer - January 2010 - 54
American Cinematographer - January 2010 - 55
American Cinematographer - January 2010 - 56
American Cinematographer - January 2010 - 57
American Cinematographer - January 2010 - 58
American Cinematographer - January 2010 - 59
American Cinematographer - January 2010 - Super Sleuth
American Cinematographer - January 2010 - 61
American Cinematographer - January 2010 - 62
American Cinematographer - January 2010 - 63
American Cinematographer - January 2010 - 64
American Cinematographer - January 2010 - 65
American Cinematographer - January 2010 - 66
American Cinematographer - January 2010 - 67
American Cinematographer - January 2010 - 68
American Cinematographer - January 2010 - 69
American Cinematographer - January 2010 - The Right Stuff
American Cinematographer - January 2010 - 71
American Cinematographer - January 2010 - 72
American Cinematographer - January 2010 - 73
American Cinematographer - January 2010 - 74
American Cinematographer - January 2010 - 75
American Cinematographer - January 2010 - 76
American Cinematographer - January 2010 - 77
American Cinematographer - January 2010 - 78
American Cinematographer - January 2010 - 79
American Cinematographer - January 2010 - Editor’s Note
American Cinematographer - January 2010 - 81
American Cinematographer - January 2010 - 82
American Cinematographer - January 2010 - 83
American Cinematographer - January 2010 - Post Focus: Technicolor Hollywood • HPA Awards
American Cinematographer - January 2010 - 85
American Cinematographer - January 2010 - 86
American Cinematographer - January 2010 - 87
American Cinematographer - January 2010 - Filmmakers’ Forum: Shane Hurlbut, ASC
American Cinematographer - January 2010 - 89
American Cinematographer - January 2010 - 90
American Cinematographer - January 2010 - 91
American Cinematographer - January 2010 - 92
American Cinematographer - January 2010 - 93
American Cinematographer - January 2010 - New Products & Services
American Cinematographer - January 2010 - 95
American Cinematographer - January 2010 - 96
American Cinematographer - January 2010 - 97
American Cinematographer - January 2010 - International Marketplace
American Cinematographer - January 2010 - Classified Ads
American Cinematographer - January 2010 - Ad Index
American Cinematographer - January 2010 - 101
American Cinematographer - January 2010 - Clubhouse News
American Cinematographer - January 2010 - 103
American Cinematographer - January 2010 - ASC Close-Up: Billy Dickson
American Cinematographer - January 2010 - Cover3
American Cinematographer - January 2010 - Cover4
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