American Cinematographer - February 2013 - 58

◗

Crumbling Pillars
an Easylift stand that could be pushed
behind the horse and cart. He
explains, “We gradually brought it up
on a dimmer for the light to pierce
through the fog as a glow that grows
on their faces. Valentine turns around
and says, ‘Look, the sun,’ which was
helpful — characters should do that
more often! Having used that warm
light in the studio, I was praying for
some sunlight when we shot the last
bit of that sequence on location some
time later.”
In this final part of the journey,
the horse collides with a car and bolts
out of the mist, bringing the two characters back into the real world with a
jolt. White notes, “The magic is shattered, and we’re back to our old
palette, with the addition of bright red
in the uniform of General Campion
[the owner of the car] and the blood of
the horse’s wound, representing the
blood that will come later in the
trenches.”
AC visited the set in Belgium to
see some of the battlefield action being
filmed. A small system of trenches was
dug into low-lying farmland, and
Cumberbatch was rolling around in
the mud in order to appear sufficiently
disheveled for a scene in which
Tietjens witnesses his drunk, shellshocked commanding officer throwing whiskey bottles and strolling
brazenly across No Man’s Land. Three
cameras were set up to cover the
action, including one on a
Technocrane that could be armed
down into the relatively shallow
trenches. “Using the crane was a very
quick way of working for that whole
[sequence],” says White. “It was a
blessing that we made that decision,
especially with all the mud. It also gave
the scene movement and a different
quality from the earlier scenes, where
we wanted to give the feeling that the
characters are prisoners of their class
and environment.”
Despite the late hour, not a
single light was used on the set during
AC’s visit. “We knew we wanted extras
and other actors coming down the

Top (foreground,
from left):
A-camera operator
Ian Adrian,
A-camera 1st AC
Ian Coffey,
A-camera 2nd AC
Adam Dorney and
an unidentified
crewmember
prepare to shoot
on location in
North Yorkshire.
Middle and
bottom: The
trench warfare of
World War I adds
another dimension
to the picture’s
palette.

58

February 2013

American Cinematographer



American Cinematographer - February 2013

Table of Contents for the Digital Edition of American Cinematographer - February 2013

American Cinematographer - February 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
Production Slate: House of Cards • Caesar Must Die
The World’s Most Wanted Man
War on Crime
Crumbling Pillars
Vision and Verve
Postcards from Poland
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - American Cinematographer - February 2013
American Cinematographer - February 2013 - Cover2
American Cinematographer - February 2013 - 1
American Cinematographer - February 2013 - 2
American Cinematographer - February 2013 - Contents
American Cinematographer - February 2013 - 4
American Cinematographer - February 2013 - 5
American Cinematographer - February 2013 - 6
American Cinematographer - February 2013 - 7
American Cinematographer - February 2013 - Editor’s Note
American Cinematographer - February 2013 - 9
American Cinematographer - February 2013 - President’s Desk
American Cinematographer - February 2013 - 11
American Cinematographer - February 2013 - Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
American Cinematographer - February 2013 - 13
American Cinematographer - February 2013 - 14
American Cinematographer - February 2013 - 15
American Cinematographer - February 2013 - 16
American Cinematographer - February 2013 - 17
American Cinematographer - February 2013 - Production Slate: House of Cards • Caesar Must Die
American Cinematographer - February 2013 - 19
American Cinematographer - February 2013 - 20
American Cinematographer - February 2013 - 21
American Cinematographer - February 2013 - 22
American Cinematographer - February 2013 - 23
American Cinematographer - February 2013 - 24
American Cinematographer - February 2013 - 25
American Cinematographer - February 2013 - 26
American Cinematographer - February 2013 - 27
American Cinematographer - February 2013 - 28
American Cinematographer - February 2013 - 29
American Cinematographer - February 2013 - 30
American Cinematographer - February 2013 - 31
American Cinematographer - February 2013 - The World’s Most Wanted Man
American Cinematographer - February 2013 - 33
American Cinematographer - February 2013 - 34
American Cinematographer - February 2013 - 35
American Cinematographer - February 2013 - 36
American Cinematographer - February 2013 - 37
American Cinematographer - February 2013 - 38
American Cinematographer - February 2013 - 39
American Cinematographer - February 2013 - 40
American Cinematographer - February 2013 - 41
American Cinematographer - February 2013 - War on Crime
American Cinematographer - February 2013 - 43
American Cinematographer - February 2013 - 44
American Cinematographer - February 2013 - 45
American Cinematographer - February 2013 - 46
American Cinematographer - February 2013 - 47
American Cinematographer - February 2013 - 48
American Cinematographer - February 2013 - 49
American Cinematographer - February 2013 - 50
American Cinematographer - February 2013 - 51
American Cinematographer - February 2013 - 52
American Cinematographer - February 2013 - 53
American Cinematographer - February 2013 - Crumbling Pillars
American Cinematographer - February 2013 - 55
American Cinematographer - February 2013 - 56
American Cinematographer - February 2013 - 57
American Cinematographer - February 2013 - 58
American Cinematographer - February 2013 - 59
American Cinematographer - February 2013 - 60
American Cinematographer - February 2013 - 61
American Cinematographer - February 2013 - Vision and Verve
American Cinematographer - February 2013 - 63
American Cinematographer - February 2013 - 64
American Cinematographer - February 2013 - 65
American Cinematographer - February 2013 - 66
American Cinematographer - February 2013 - 67
American Cinematographer - February 2013 - 68
American Cinematographer - February 2013 - 69
American Cinematographer - February 2013 - 70
American Cinematographer - February 2013 - 71
American Cinematographer - February 2013 - Postcards from Poland
American Cinematographer - February 2013 - 73
American Cinematographer - February 2013 - 74
American Cinematographer - February 2013 - 75
American Cinematographer - February 2013 - New Products & Services
American Cinematographer - February 2013 - 77
American Cinematographer - February 2013 - 78
American Cinematographer - February 2013 - 79
American Cinematographer - February 2013 - 80
American Cinematographer - February 2013 - 81
American Cinematographer - February 2013 - International Marketplace
American Cinematographer - February 2013 - Classified Ads
American Cinematographer - February 2013 - Ad Index
American Cinematographer - February 2013 - 85
American Cinematographer - February 2013 - Clubhouse News
American Cinematographer - February 2013 - 87
American Cinematographer - February 2013 - ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - Cover3
American Cinematographer - February 2013 - Cover4
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