Top and middle: The camera closes in on Turner during a scene at the academy. Bottom: Bounces were used to light Turner as he examines a painting. These outside sources pushed through a 20-by-20-foot full or half silk frame, which was hinged above the windows and rigged as an awning; we could raise or lower it according to my needs or the camera angle. This silk also gave us protection from the morning sun. When we were inside the studio and looking away from the windows, I added a quarter silk in front of the windows to soften the light even further. There were a couple of occasions where we lifted one edge of this silk and introduced a sunlight effect from another Arri M90 directed from our second 60-foot lift, a Spider Boom. The Spider was really useful, because the difficult and narrow access made it very awkward to place the lift where we wanted. This thing folded right up and then, when it was in position, it unfolded and its stabilizing spider legs would simply pop out. A lot of the movie's interiors were done that way, with a double diffusion - one outside the window and one inside. I like the quality of the shadow, the falloff of the light, and the burnished color. For all the sitting-room www.theasc.com January 2015 71http://www.theasc.com