American Cinematographer - March 2014 - 34
◗
5-Star Service
was a format I'd never used before on a
movie, and it was a fun departure. You
can get accustomed to 1.85:1 or 2.40:1
to the point that the shots become more
predictable."
Sequences set in the late 1970s,
when the author addresses the camera
from behind a desk, were filmed in
1.85:1, and scenes set in the 1960s were
filmed in 2.40:1 anamorphic. Yeoman
shot the latter material using anamorphic Techno-Cooke prime and zoom
lenses from Technovision. "They have a
very interesting quality - they're not
sharp and crisp like Panavision Primo
anamorphics," he notes. "I was a little
nervous about how they fell off at the
edges. I think the 40mm was actually
pretty soft in the lower center.
Cameramen don't like seeing that, but
Wes embraced the imperfections of the
lenses because of their distinctive look."
Cooke S4 prime lenses and an
Angenieux Optimo 24-290mm zoom
were used for the rest of the film.
Principal photography was
strictly a single-camera affair, and
Yeoman used an Arricam Studio
provided by Arri Berlin. "When you're
as compositionally specific as Wes and I
are, one camera is the only way to go,"
the cinematographer muses.
Yeoman takes a low-tech
approach to accomplishing Anderson's
trademark swish pans and dolly shots.
"I generally prefer an Arri gear head, but
at times I'll opt for an OConnor
Ultimate fluid head, particularly for
swish pans that are more than 90
degrees," he explains. "I can be more
accurate and move the camera faster
with the fluid head. We had several long
dolly moves, and we prefer a large dolly
like the Chapman Hybrid 3. Wes
prefers to ride with a handheld monitor
so he can be near the actors."
Anderson constantly encouraged
Yeoman and key grip Sanjay Sami to
find new ways to accomplish shots. A
new addition to their toolkit was the
Towercam, a telescoping camera platform from MAT in Berlin. The
Towercam was occasionally used in
place of a crane or to boom the camera
Top to bottom:
Gustave and his new
lobby boy, Zero (Tony
Revolori), are
roughed up by
military goons during
a train ride; Gustave
is threatened by
Madame Desgoffe's
son, Dmitri (Adrien
Brody, second from
left), and his enforcer,
Jopling (Willem
Dafoe, left), after the
old lady leaves the
concierge a priceless
painting in her will;
Gustave and Zero go
on the lam.
34
March 2014
American Cinematographer
American Cinematographer - March 2014
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American Cinematographer - March 2014 - 1
American Cinematographer - March 2014 - 2
American Cinematographer - March 2014 - Table of Contents
American Cinematographer - March 2014 - 4
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