American Cinematographer - January 2015 - 69

Exterior fixtures
were used to
create the
strong light that
filters through
the window into
Turner's studio.

mented them with Cooke S4s on the
very wide end.
As usual, Mike shot with a single
camera, with the exception of a few
performance scenes, which we shot in
two sizes in the same direction - like
the piano playing, the heated discussion
at the Academy, and Turner's 'Jackson
Pollock moment' when he's actionpainting in front of an audience.
[Laughs.]
Do you use a meter with digital
cameras?
Pope: I don't really use an exposure meter anymore when I shoot digital. It's funny because I light by eye
much more with digital than I do with
film - and I don't necessarily light off
the monitor, either, because I still don't
really trust it.
Like all of Leigh's films, this
movie was shot entirely on location.
How did you arrive at the lighting for
Turner's house and studio?
Pope: We took over that location
and made it our own. The house was
cold, imposing and awkwardly oriented.
After spending some time walking
around alone, I knew we had to create
our own world within the house and get
some great light coming in. So, the
daylight we created was mostly our own.
I had acrylic sheets of Full CT Orange
made up for all the windows in order to

imbue the house with a warm, corrected
light. That's the daytime feel I wanted
for the film: this soft, warm light reflecting Turner's work, flooding in from
every window in the house, along with
quite a lot of smoke [and] atmosphere
naturally diffusing and creating fill.
There are hardly any sources inside; it's
mostly all through the windows.
There's a great scene when we
first discover Turner's studio.
Pope: For me, that's a really
important moment at the beginning of
the film. Turner goes into his house,
[walks through] a very dark corridor
and meets his housekeeper at the end.
It's quite painterly, but dark and dingy,
and he has a conversation. Then [he]
goes into his studio and opens the shutwww.theasc.com

ters - and this fantastic yellowish
sunlight floods in. And there it is:
Turner's world of light.
How did you create this strong
light coming in from the large studio
window?
Pope: Turner's studio faced
southeast and was hit by morning sun,
so our main rig outside the huge studio
window consisted of either an Arri M90
9K HMI Par or sometimes a Quarter
Wendy with Half Blue, under-slung off
a 45-foot Genie boom - it depended
on the amount of punch and the quality
of light I needed. The Full Wendy, with
192 Par 36 globes, or Fays, breaks down
into quarters. It was developed by David
Watkin, BSC [whose nickname was
Wendy].
➣
January 2015

69


http://www.theasc.com

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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