American Cinematographer - February 2014 - 42
◗
Allies of Art
The team
captures a
shot of Nazis
preparing to
set artworks
ablaze.
approach. I don't fill a lot. I let things fall
off and always make sure there are dark
areas in the frame so that even if something is front lit, there's still good
contrast."
Claire's pursuit of the train was
filmed in Berlin's Nikolaiviertel neighborhood, and the single large source
behind Blanchett was an Arri T12
gelled with ½ CTO high up on a
Condor. Practical streetlamps were each
fitted with a 150-watt bulb and an additional outside bulb, and shop and
restaurant windows projected a row of
three 650-watt Fresnels with ½ White
diffusion, an Ianiro 800-watt Redhead,
and a couple of 1Ks behind Light Grid.
The Alexa was shooting at a T2.8,
"which I allowed myself to open up to
when using the Master Primes," says
Papamichael.
For
other
night
work,
Papamichael would usually use 20K
Fresnels, Nine-light Maxi-Brutes or
Dinos because, as he says, "This is a
period piece, and I don't really use blue
moonlight. Any urban situation I play
warm, usually going with big tungsten
units."
For film work, Papamichael used
Kodak Vision3 500T 5219 rated
normally. The negative was processed at
Arri Film & TV Services in Berlin. "I
wasn't concerned about using the
higher-speed stock because I wanted to
feel some grain," says the cinematographer. "I think that conveys that older
period look, and we planned to add
grain to the digital footage in post."
Papamichael and Berkowitz did
preliminary grades of the digital mater-
American Cinematographer - February 2014
Table of Contents for the Digital Edition of American Cinematographer - February 2014
Table of Contents
American Cinematographer - February 2014 - Cover1
American Cinematographer - February 2014 - Cover2
American Cinematographer - February 2014 - 1
American Cinematographer - February 2014 - 2
American Cinematographer - February 2014 - Table of Contents
American Cinematographer - February 2014 - 4
American Cinematographer - February 2014 - 5
American Cinematographer - February 2014 - 6
American Cinematographer - February 2014 - 7
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American Cinematographer - February 2014 - 40
American Cinematographer - February 2014 - 41
American Cinematographer - February 2014 - 42
American Cinematographer - February 2014 - 43
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American Cinematographer - February 2014 - 49
American Cinematographer - February 2014 - 50
American Cinematographer - February 2014 - 51
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American Cinematographer - February 2014 - 53
American Cinematographer - February 2014 - 54
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American Cinematographer - February 2014 - 57
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American Cinematographer - February 2014 - Cover3
American Cinematographer - February 2014 - Cover4
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