American Cinematographer - February 2007 - 44

Deadly Scent
found this

to

be very

effective. With

four lOKs and four space lights over¬
head, I can quickly go from bright

daylight
ence

to a very dim night ambi¬
and then fill that from the floor

with

some

soft, blue light."

Keeping things soft, Griebe
often used tungsten helium balloons
as key
lights for interior scenes, and
turned to larger balloons for a
complex night sequence in a garden

labyrinth.
After

learning all he

can

from

Baldini, Grenouille journeys to the
town

of Grasse

to

further refine his

skills. He learns the

of

enfleurage,
extracting an object's essential oils by
encasing it in a layer of odorless fat,
which absorbs the
Above: The

production films
the townspeople
of Grasse

convening in the
town square.

Right:
Condemned to

death for

on

the

largest stage at Bavaria Film,

the set

was

12x12' softbox faced with full

at

each

corner

creating

promptly

puts the crowd
under his

44

spell.

February 2007

a

grid-

Ultrabounce; a 10K fixture was hung
aimed up

which

lit from above with

cloth diffusion. Several feet above
the gridcloth face was a large piece of

Grenouille seizes
introduces his
ultimate creation,

scent.

creating the most beautiful

committing
multiple murders,
the moment and

art

a

of the softbox and

into the Ultrabounce,
bounce that fed through

the

gridcloth and onto the stage. For
daylit scenes, Griebe's crew hung
four 6K space lights between the
Ultrabounce and gridcloth for a bit
of extra punch. "I keep the soft
source very
high above the stage and
use

then

the lOKs

to

bounce first and

through the diffusion,"
explains the cinematographer. "I've
come

Bent

on

scent in

the world, Grenouille extracts oils
a number of maidens, and the

from

jewel in his aromatic crown is Laura
(Rachel Hurd-Wood), who is closely
guarded by her father (Alan
Rickman) because of a recent spate
garden labyrinth
behind their home, where Laura and
of murders. In the

several party guests

play

a game

of



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