American Cinematographer - January 2014 - 69

AMC_0114_p064_p075_c_feature 11/24/13 11:37 AM Page 69

Top: Hardy lines
up a shot of
Jones as gaffer
Julian White
leans in to
adjust the
source, a
"muslin teepee"
over a double
row of Howie
Battens dimmed
to 60 percent.
One row of
lights faced the
audience, and
the other faced
the stage to
mimic
footlights.
Bottom: In a
shot from the
scene, Nelly and
her husband
(Tom Burke)
watch their
pupils perform.

Fiennes found this technique
particularly effective for the scene in
which Dickens first confesses his feelings to Nelly. They are seated on opposite sides of a table in front of a fireplace,
and Nelly's mother (Kristin Scott
Thomas) is dozing on the nearby
couch. "I thought it was a strong scene,
and after the camera tracks slowly to
establish the room, we cut to a series of
static close-ups," says Fiennes. "I asked
for the close-ups to be quite classic,
quite traditional, really, and after Rob
shot them, he asked if he could try some
with the camera a little higher. I agreed,
and later, when we cut it, I realized that
angle was actually much more effective.
My eyebrow is quite heavy, so on my
close-up the eye just peers out, giving it
very strong focus. And that was Rob."
Hardy adds, "The idea is that Dickens
is trying to get information out of Nelly
without giving too much away himself,
and it helped that Ralph dropped his
chin at a key moment."
The story's period required a
lighting strategy that would suggest a
mix of gas and oil lamps, firelight and
candlelight, and Hardy recalls that in
developing this scheme with gaffer

Julian White, he considered such varied
references as late-period Rembrandt,
"for the sense of light coming from
within the frame," and David Lynch's
Lost Highway (AC March '97), "for the
way light hangs in the rooms." He
explains, "I wanted the rooms to hum,
to feel alive with light. I also wanted it to
feel as though light was emanating from
the frame. There might be a fire in the
fireplace, gas lamps on the wall and
candles on a table, but it all feels consolwww.theasc.com

idated; it's not a spot of light here and a
spot of light there."
For night interiors, room tone
was established with overhead tungsten
sources dimmed down and diffused
with unbleached muslin. In larger
spaces, these sources were typically 2K
Airstar Gala balloons, and in smaller
spaces, 1K or 2K Dedoflex Octodomes
or 2K spherical balloons. (Sometimes
Par cans were bounced into a heavy
calico on the floor instead.) Then, small
January 2014

69



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American Cinematographer - January 2014

Table of Contents for the Digital Edition of American Cinematographer - January 2014

Table of Contents
American Cinematographer - January 2014 - Cover1
American Cinematographer - January 2014 - Cover2
American Cinematographer - January 2014 - 1
American Cinematographer - January 2014 - 2
American Cinematographer - January 2014 - Table of Contents
American Cinematographer - January 2014 - 4
American Cinematographer - January 2014 - 5
American Cinematographer - January 2014 - 6
American Cinematographer - January 2014 - 7
American Cinematographer - January 2014 - 8
American Cinematographer - January 2014 - 9
American Cinematographer - January 2014 - 10
American Cinematographer - January 2014 - 11
American Cinematographer - January 2014 - 12
American Cinematographer - January 2014 - 13
American Cinematographer - January 2014 - 14
American Cinematographer - January 2014 - 15
American Cinematographer - January 2014 - 16
American Cinematographer - January 2014 - 17
American Cinematographer - January 2014 - 18
American Cinematographer - January 2014 - 19
American Cinematographer - January 2014 - 20
American Cinematographer - January 2014 - 21
American Cinematographer - January 2014 - 22
American Cinematographer - January 2014 - 23
American Cinematographer - January 2014 - 24
American Cinematographer - January 2014 - 25
American Cinematographer - January 2014 - 26
American Cinematographer - January 2014 - 27
American Cinematographer - January 2014 - 28
American Cinematographer - January 2014 - 29
American Cinematographer - January 2014 - 30
American Cinematographer - January 2014 - 31
American Cinematographer - January 2014 - 32
American Cinematographer - January 2014 - 33
American Cinematographer - January 2014 - 34
American Cinematographer - January 2014 - 35
American Cinematographer - January 2014 - 36
American Cinematographer - January 2014 - 37
American Cinematographer - January 2014 - 38
American Cinematographer - January 2014 - 39
American Cinematographer - January 2014 - 40
American Cinematographer - January 2014 - 41
American Cinematographer - January 2014 - 42
American Cinematographer - January 2014 - 43
American Cinematographer - January 2014 - 44
American Cinematographer - January 2014 - 45
American Cinematographer - January 2014 - 46
American Cinematographer - January 2014 - 47
American Cinematographer - January 2014 - 48
American Cinematographer - January 2014 - 49
American Cinematographer - January 2014 - 50
American Cinematographer - January 2014 - 51
American Cinematographer - January 2014 - 52
American Cinematographer - January 2014 - 53
American Cinematographer - January 2014 - 54
American Cinematographer - January 2014 - 55
American Cinematographer - January 2014 - 56
American Cinematographer - January 2014 - 57
American Cinematographer - January 2014 - 58
American Cinematographer - January 2014 - 59
American Cinematographer - January 2014 - 60
American Cinematographer - January 2014 - 61
American Cinematographer - January 2014 - 62
American Cinematographer - January 2014 - 63
American Cinematographer - January 2014 - 64
American Cinematographer - January 2014 - 65
American Cinematographer - January 2014 - 66
American Cinematographer - January 2014 - 67
American Cinematographer - January 2014 - 68
American Cinematographer - January 2014 - 69
American Cinematographer - January 2014 - 70
American Cinematographer - January 2014 - 71
American Cinematographer - January 2014 - 72
American Cinematographer - January 2014 - 73
American Cinematographer - January 2014 - 74
American Cinematographer - January 2014 - 75
American Cinematographer - January 2014 - 76
American Cinematographer - January 2014 - 77
American Cinematographer - January 2014 - 78
American Cinematographer - January 2014 - 79
American Cinematographer - January 2014 - 80
American Cinematographer - January 2014 - 81
American Cinematographer - January 2014 - 82
American Cinematographer - January 2014 - 83
American Cinematographer - January 2014 - 84
American Cinematographer - January 2014 - 85
American Cinematographer - January 2014 - 86
American Cinematographer - January 2014 - 87
American Cinematographer - January 2014 - 88
American Cinematographer - January 2014 - 89
American Cinematographer - January 2014 - 90
American Cinematographer - January 2014 - 91
American Cinematographer - January 2014 - 92
American Cinematographer - January 2014 - 93
American Cinematographer - January 2014 - 94
American Cinematographer - January 2014 - 95
American Cinematographer - January 2014 - 96
American Cinematographer - January 2014 - Cover3
American Cinematographer - January 2014 - Cover4
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