American Cinematographer - January 2015 - 75

It's my documentary background at
work, where I learned the difference
between quietly observing a situation and
trying to re-stage [it] - which always
separated the honest and believable from
the hokey and fabricated.
At the Royal Academy build in
Wentworth House [in South Yorkshire,
England], there was a galleried balcony
above the set - which ran around all
four sides like the lighting rail of a stage
- where we had 12-light and Nine-light
Maxi-Brutes directed up onto the white
ceiling above. This soft light then passed
down through a 33-foot-by-44-foot
unbleached muslin that completely
covered the set and was made to fit just
above the top of it, and which softened
and spread the light even more. In order
to lift certain areas within the set, we
added a few 4K HMI Pars with Half
CTO bounced off [Lee 273 Soft Silver
reflectors] - my favorite. They were also
directed down through the muslin
canopy. I cannot recall using any lamps

on the floor, but once again we used
smoke and taped-down bedsheets to
bounce the toplight back up. In some
cases [we also laid down] bead board to
kick more light back up.
Basically, we created a completely
artificially lit set, as if we were working
on a stage and not dependent on any
natural daylight. The setup was totally
controllable, and we could shoot both
day and night. But the motivation for
my lighting, and indeed for the entire
build, was based on an actual painting
from the 1800s, which showed how the
event was staged, detailing fancy glazed
top windows. We didn't have any of this
above our set, however, and I was
concerned that there was no explanation
for the top source. I asked to have a
visual effect added to the shot of Turner
as he first enters, which now briefly -
but happily - shows the high windows
above the gallery. [Laughs.]
There are so many wonderful
exteriors in this movie.

Pope: We were really lucky with
the weather, but there was one really
magical moment when I was shooting
Turner walking up along a cliff towards
a chapel. Suddenly, wild horses
appeared out of nowhere, filed past me,
entered the frame and followed him up
the cliff path. That was one of the most
extraordinary moments I've ever experienced behind a camera. In a way, that
shot sums up the making of Mr. Turner
- we were blessed.
For additional Mr. Turner
coverage, visit www.theasc.com/asc_blog/
thefilmbook.
‚óŹ

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus
Cooke Speed Panchro, S4

75


http://www.theasc.com/asc_blog/thefilmbook http://www.theasc.com/asc_blog/thefilmbook http://www.leefilters.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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