American Cinematographer - January 2015 - 26

Turing fights to
prove his
computer will
work when a
British
commander
wants to shut it
down.

then B camera would have a 100mm for
a close-up." He had a complete set of
Arri/Zeiss Master Primes, whose fast
speed aided numerous night scenes. (An
Arriflex 435 was used to capture certain
visual-effects shots in 4-perf 35mm.)
Eschewing a desaturated look and
brown palette, Tyldum and Faura sought
a period character in other ways. "One of
the main factors was the use of historical
light sources," says the cinematographer.
"We played with Anglepoise lamps,
candles, early fluorescent fixtures, and
one other important period factor: the
wartime blackout.
"During World War II, there were
light restrictions in England to avoid the
German bombers having any visual reference," Faura continues. "Windows were
blacked out, cars drove with snoots on
their headlights, and streetlights were
turned off. That meant limited options
for night-exterior lighting." Except for
the occasional flashlight wielded by
guards at Bletchley, moonlight was the
only choice. Says the director, "I didn't
want that clich├ęd, heavy blue moonlight,
which I think is so Nineties. We wanted
something neutral."
Their approach generally involved
rigging Dinos on lifts to create a big, soft
source. In one scene, Turing, carrying
26

January 2015

German intercepts, bicycles to the flat of
his accomplice Joan Clarke (Keira Knightley), then climbs into her bedroom
window. The difficulty was the backyard
location, wedged between buildings in
the small but densely populated market
town of Chesham, where medieval lanes
and crisscrossed telephone wires created
an obstacle course. Nonetheless, the
crew managed to maneuver two Genie
boom lifts into place. "One was used as a
backlight with a couple of Dinos on top,
filtered with Half White Diffusion," says
Faura. "The other was hanging over the
backyard in a 12-by-12 light box with five
Mini-Brutes inside, softened by a 12-by12 Full Grid Cloth."
The largest exterior appears during
the film's climax - that eureka moment
when Turing figures out how to crack the
code, bolts out of the Bletchley pub, and
runs across the moonlit campus to Hut
11, which houses the proto-computer,
and then to Hut 8, where the captured
Enigma machine is kept. That run covered
a good 1,500' on the RAF airbase. Says
gaffer Stuart King, "We had 24K Dinos
on cherry pickers - one at either end -
and an 8K tungsten helium balloon floating around the middle, which we could
quickly move. All the tungsten had Half
Blue for moonlight. And there was a 10K,
American Cinematographer

just to point out anything extra we might
want to see at night."
England at wartime also meant air
raids. During one such sequence, dozens
gather in a shelter - the Aldwych Tube
station, a disused, period-correct station
located five flights underground. The
scene called for the tunnel's Coolie lights
to flicker, then go dark as bombs landed
overhead; after a moment of blackness,
lanterns are lit one by one. The problem
was that there was no working elevator
for the cast or crew, and open flame and
smoke were prohibited. "We had to
adapt all the gasoline lanterns to electric," says King. "Some were on small
batteries the extras could put in their
pocket; others were on two 40-volt
mains." Last-minute instructions about
when the extras would light their candles
meant the lanterns needed on-off
switches, too. Paper lanterns augmented
that light. "There were seven or eight
electricians switching the lights on to a
cue, in order," says King.
Production
designer
Maria
Djurkovic found period fixtures and old,
dirtied-down fittings at prop houses and
elsewhere. Anglepoises with 100-watt
bulbs were ubiquitous on Bletchley desks
and workbenches. These might be amplified with a 300-watt spot bouncing into



Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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