American Cinematographer - January 2015 - 72

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Eloquence Through Art

Top: Mrs. Booth
(Marion Bailey)
shows Turner a
room for rent.
Middle: The ships
seen through the
windows were
shot in-camera.
Bottom: The oil
lamp was the
main light source
for this nighttime
hallway scene.

scenes, we bounced HMI Pars off
Ultrabounce from the grounds outside
the room through the linen/muslin
sheers, but sometimes we would bring
in a direct sun effect using our Arri M90
rigged on the Spider Boom. Mike also
had us shoot on the upper floors.
Lighting-wise, we were ready for it and
could easily raise our lifts and rigs way
up to the top of the house. I had two
great gaffers on the film, by the way:
Andy Long and Liam McGill.
72

January 2015

You shot at Petworth House,
the estate of Turner's patron, Lord
Egremont, with a dozen real Turners
on the walls. How did you approach
that scene?
Pope: That room faces west, and
Turner's paintings were put there to
capture the evening light. They come
alive when the sun comes down, and
the paintings are positioned so people
can see them at eye level as they are
dining.
American Cinematographer

To create the sunlight, I used
Maxi-Brutes outside with Half CTB
gels, so their tungsten light remained
pretty warm. There were two MaxiBrutes, one above the other, outside every
one of the 24 windows along the length
of the house where we were shooting,
and every window had its own full-silk
diffusion to soften the light.
There's a Steadicam move in that
sequence, and it's striking to see
people's shadows on Turner's masterpieces.
Pope: I wanted to feel these streaks
of light and shadow falling across the
room from the low sun, and avoid being
too 'respectful' of the paintings.
There's a beautiful shot with a
sun flare when Turner is painting in a
tall room at the estate, with women
watching him work.
Pope: That's an 18K ArriMax on a
100-foot cherry picker outside the
window, in-shot and pointing straight at
us, flaring the camera. This was in the old
library at the top of Petworth House, and
it was one of the few times we had a go
at re-creating a famous 'Turner,' a watercolor he painted in that very same room.
I was looking through the camera as the
lamp was being raised toward the top of
the window and out of shot - and while
it was still in the frame, it was lighting
them so perfectly. I thought, 'That's it.
Just leave it where it is.' So we did and
painted the crane arm out in post. That's
the only light source; the rest is bounce
from sheets of muslin inside the room.



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
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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
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American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
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American Cinematographer - January 2015 - 76
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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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