American Cinematographer - January 2015 - K2

"If the look of the film
doesn't carry you backwards
and forwards, to different
periods, then the story
doesn't work."
"We put some cling fi lm over the lens, and made a hole in
the middle of it," notes Forrest. "So you had one part that was
a clear rendition of the image, and then on the edges we were
basically shooting through three layers of plastic. You can do
this with (petroleum jelly) as well, but this method seemed
like the most controlled and accurate way for us to do it."
The digital intermediate, along with dailies, were done at
Technicolor in London where colorist Paul Ensby performed
the grade.
"It (fi lm) gave us the look this story needed," Forrest says.
beautifully. In Vietnam, we were dealing with really harsh light
and hard contrast, and I wanted a stock that worked well with
those conditions yet could also emulate the textures and tones
of the 1980s."
The camera movement also varied for each time period.
In the 1950s, they used a lot of TECHNOCRANE and
STEADICAM Systems and big mechanical movements to
"chase after Noble in her world," Forrest describes. "For
the 1960s we had a much more traditional approach - no
STEADICAM, just a track and a traditional, still photographic
approach to it all. The 1980s were handheld, with lots of
improvised camera movements to incorporate the chaos of the
time in that city. It was very lively, capturing all the moments."
For those scenes, Forrest utilized authentic lenses from
the early 1970s - PANAVISION Lightweight Zooms. He also
created a fi lter that they used to make in India to pair with
the Zooms: "You take two bits of glass and put a water color
in between them, squish that between two pieces of NIKON
glass, and place it all in a ceramic kiln to bake."
Other photographic tricks were employed for Noble as well.
There's a scene where close to 200 people gathered to watch
the fi lming and the fi lmmakers needed to blur them out, so
they put cellophane around the edges of the lenses. And for
some of the '80s scenes they wanted to make Noble feel like
she was in her own world - in a bubble - so they crafted a
"bubble" effect on the lens.
Photos: Previous page: Top: Deirdre O'Kane portrays Cristina Noble. Bottom: Noble DP
Trevor Forrest. This page: Top and Center: Scenes from Noble. Bottom: Director Stephen
Bradley and DP Trevor Forrest. (Photos Courtesy of Aspiration Media.)
"It's something everyone has responded to - the look and
feel of it. And that is the most important thing for me, of
course. If the look of the fi lm doesn't carry you backwards and
forwards, to different periods, then the story doesn't work. I
mean, you have the actors, costumes and changes of scenery
- those are one component - but really, the look of the fi lm
stock is what helps age all those things. That is why I knew I
had to choose fi lm."

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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