American Cinematographer - March 2014 - 40

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5-Star Service

Jopling emerges from a ski locker at the start of a downhill ski-and-sled chase
that combines stop-motion animation, live action and in-camera effects.

the lab could print down, and that there
would be a certain amount of digital sky
manipulation. "Lighting a large field at
night would have been very difficult,
and I love the way our dusk-for-night
looks," he adds.
After gaining his freedom,

40

Gustave seeks to clear his name by
tracking down the Desgoffe-und-Taxis'
butler, Serge X. (Mathieu Amalric), in a
monastery atop a snowy mountain. The
monastery was another location in
Görlitz, but parts of Gustave and Zero's
gondola journey to the peak and the

wide mountaintop exteriors were created
by the miniatures unit at Babelsberg
Studios. Directing remotely from
London, Anderson supervised a team
comprising producer Jeremy Dawson,
supervising model maker Simon Weisse
and miniature-effects supervisor Frank
Schlegel as they shot the live-action and
stop-motion miniature sequences. This
work was captured on film and digitally,
with a Red Epic and Canon EOS 5D
Mark II used for the latter. (Character
puppets were fabricated by Andy Gent
and animated by Andy Biddle at
Clapham Road Studios.) All of the
elements were combined at Look
Effects in Stuttgart, Germany, by a team
of artists led by visual-effects supervisor
Gabriel Sanchez.
A hair-raising downhill ski-andsled chase combines stop-motion
animation and live-action with incamera effects, "which we tried to do
whenever possible," says Yeoman.
A shootout at the hotel involving


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American Cinematographer - March 2014

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

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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
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