American Cinematographer - March 2014 - 35

between floors, as in the sequence
where an incarcerated Gustave and his
fellow inmates stage a prison break.
"When the lantern dropped through a
hole in the jail-cell floor to the basement, we suspended the Towercam
upside down so the camera could
descend all the way to the ground," says
Yeoman. "Wes often challenged us, and
Sanjay always came through!"
Yeoman shot the entire picture
on Kodak Vision3 200T 5213. "We did
that on Moonrise Kingdom and found
that the lab could handle the correction
[for day exteriors]," he remarks.
"Without the 85 filter, the film stock is
rated at 200 ASA instead of 125, which
helps late in the day when you're losing
light."
The Grand Budapest is first
shown in a shabby state, its crumbling
façade (a combination of locations in
Görlitz, Germany, and miniatures shot
at Babelsberg Studios) concealing an
interior decked in flat shades of nicotine, with low ceilings and narrow halls.
The cavernous atrium of a former
department store in Görlitz served as
the hotel's main lobby. Production
designer Adam Stockhausen hung a
translucent egg-crate drop ceiling to the
ground floor and boxed in the lobby
with wall flats to make the Cold Warera hotel feel claustrophobic and
oppressive. "It was an austere environment," Yeoman remarks. "The entire
lobby ceiling was designed to resemble
an overhead fluorescent source, and we
accomplished that with 24 12-light
Maxi-Brutes shining through a layer of
Rosco 216 White Diffusion that
covered the ceiling."
Yeoman lit all interiors with
tungsten instruments and practicals on
DMX dimmers, and he typically lit to
T3.5. "We did a few zoom shots with a
Techno-Cooke 40-200mm zoom in
the 1960s hotel lobby, and I lit those to
T8 because the anamorphic zooms look
slightly soft unless they're given a
deeper stop," he adds.
Production in Görlitz began with
the hotel scenes set in the 1960s, and
then the art department spent three

Top to bottom: Zero finds love with Agatha (Saoirse Ronan), the hotel's baker; Ronan
retrieves items from a safe under Yeoman's watchful eye; the crew uses a Towercam
to capture a shot of the young couple hanging on for dear life.

www.theasc.com

March 2014

35



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American Cinematographer - March 2014

Table of Contents for the Digital Edition of American Cinematographer - March 2014

Table of Contents
American Cinematographer - March 2014 - Cover1
American Cinematographer - March 2014 - Cover2
American Cinematographer - March 2014 - 1
American Cinematographer - March 2014 - 2
American Cinematographer - March 2014 - Table of Contents
American Cinematographer - March 2014 - 4
American Cinematographer - March 2014 - 5
American Cinematographer - March 2014 - 6
American Cinematographer - March 2014 - 7
American Cinematographer - March 2014 - 8
American Cinematographer - March 2014 - 9
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American Cinematographer - March 2014 - 11
American Cinematographer - March 2014 - 12
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American Cinematographer - March 2014 - 18
American Cinematographer - March 2014 - 19
American Cinematographer - March 2014 - 20
American Cinematographer - March 2014 - 21
American Cinematographer - March 2014 - 22
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American Cinematographer - March 2014 - 25
American Cinematographer - March 2014 - 26
American Cinematographer - March 2014 - 27
American Cinematographer - March 2014 - 28
American Cinematographer - March 2014 - 29
American Cinematographer - March 2014 - 30
American Cinematographer - March 2014 - 31
American Cinematographer - March 2014 - 32
American Cinematographer - March 2014 - 33
American Cinematographer - March 2014 - 34
American Cinematographer - March 2014 - 35
American Cinematographer - March 2014 - 36
American Cinematographer - March 2014 - 37
American Cinematographer - March 2014 - 38
American Cinematographer - March 2014 - 39
American Cinematographer - March 2014 - 40
American Cinematographer - March 2014 - 41
American Cinematographer - March 2014 - 42
American Cinematographer - March 2014 - 43
American Cinematographer - March 2014 - 44
American Cinematographer - March 2014 - 45
American Cinematographer - March 2014 - 46
American Cinematographer - March 2014 - 47
American Cinematographer - March 2014 - 48
American Cinematographer - March 2014 - 49
American Cinematographer - March 2014 - 50
American Cinematographer - March 2014 - 51
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American Cinematographer - March 2014 - 54
American Cinematographer - March 2014 - 55
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American Cinematographer - March 2014 - 60
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American Cinematographer - March 2014 - 62
American Cinematographer - March 2014 - 63
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American Cinematographer - March 2014 - 70
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American Cinematographer - March 2014 - 79
American Cinematographer - March 2014 - 80
American Cinematographer - March 2014 - Cover3
American Cinematographer - March 2014 - Cover4
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