American Cinematographer - January 2015 - K6

Emil Nava is a successful
music video and commercials
director whose instinct for
stylish imagery is behind
music videos for Jesse J,
Calvin Harris, Ellie Goulding
and Rita Ora, as well as spots
for MasterCard and L'Oréal.
For his latest creation,
the video for Ed Sheeran's
"Thinking Out Loud," Nava
wanted a classic look, and
he wanted to achieve it by
shooting fi lm. Behind the
camera, he had a strong ally
in Daniel Pearl, ASC.
"I found shooting fi lm again
to be fantastic," says Pearl. "It
was very freeing. I could move
a lot faster. You don't have to
fi ddle with quarter-of-a-stop
or eighth-of-a-stop changes
in light, because you know
that there will be a fi nal color
grading."
The fi lm gauge was to be
Super 16, but Nava told Pearl
that he prefers to shoot in a
2.35:1 widescreen aspect ratio
for a more cinematic sweep.
"So I did something I'd
learned about several years
ago, but never had the
opportunity to try - HAWK
1.3x ANAMORPHIC lenses,"
Pearl explains. "My reasoning
was, why would I throw away
perhaps a quarter of the
negative by letterboxing a
spherical image?" The HAWK
V-Lite 1.3x lenses, made by
VANTAGE Film, squeeze
a widescreen 2.35:1 image
almost perfectly into a 1.78
Super 16 fi lm frame.
The clip shows Sheeran and
a female dancer performing
an intricately choreographed
dance in a fi nely appointed,
old-world ballroom. The
camera's movements interact
gracefully with the dancers,
adding to the lyrical feel.
At times the camera was
on STEADICAM, and at
other times it was on a large
crane with a jib arm. Pearl
sometimes placed props like a
chandelier or an arrangement
of furniture in the foreground
to add depth and dimension
to shots.
To avoid frontlight, Pearl
lit from outside the large
arches and from balconies
above the action. As the
camera swirled around the
action, lights were cued up
and down to maintain backand
crosslight. STEADICAM
operator Chris Cunningham
collaborated with Pearl and
the choreographers on the
coverage of the dance.
The entirety of the clip
was shot over the course of
a single day at the Biltmore
Hotel in Los Angeles. One
continuous, complete take
was done at the start of
the day, and then a couple
more times at the end of the
day. The rest of the day was
devoted to shooting shorter
segments.
"I was very impressed by
the choreographers," says
Pearl. "I encouraged their

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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