American Cinematographer - April 2008 - (Page 71)

all times,” says Bryld. “We wanted the camera to be a third person on the trip, to be right there with them [in an] intimate way. We rarely stepped back and observed them.” Uneasy with one another at the start, Ken and Ray become so close that Harry feels compelled to come to Bruges and kill Ray himself. “When Harry gets to town, we injected a slightly colder look,” recounts Bryld. “I would sometimes take the 85 filter off and shoot tungsten, or I’d use an 81EF. I’d also expose down a bit when Harry is in the shot to make him a bit starker against the sky. “I used mostly the 32mm lens on Harry so we could be physically close to him and feel the danger,” the cinematographer continues. “We also moved the camera more aggressively because he moves faster — Harry is very much to the point.” On their first night in Bruges, Ray and Ken come across a film crew making a movie. At the end of the film, Harry chases Ray through the streets and ends up interrupting the filming. When we first see the set, it looks magical, which is how Ray sees it. Bryld shot some of the scene in slow motion and added some lens flares to make the image slightly abstract. Warmed-up 5Ks and 10Ks cast a golden glow. At the end of the film, when Ray is running for his life, the set is much starker. “I imagined Ray had lost so much blood that the color was draining out of him, so we went for Nine-light Maxis and Mini-Brutes to create a cooler, alienating look, a bit like underwater,” says Bryld. “We didn’t want to use HMIs and couldn’t gel the lights properly because they’re visible in the shot, so the bluish color of the scene was actually achieved in the digital intermediate [DI]. “The sequence is a combination of Ray’s point of view, which we shot primarily handheld, and Harry closing in on him, which was shot mostly with Steadicam in a predatory fashion. We added harsher flares and both over- and undercranked the camera. [Arri] Master Primes don’t flare easily, but when they do, it looks really nice; I think the flaring gives the scene a sense of aggression as well as a magical feel.” Because the scene takes place on a film set, Bryld was able to treat all the movie lights as practicals. “I only used lights I didn’t mind seeing,” he remarks. Frames of 1⁄4 CTB and diffusion, usually 250, were placed in front of some of them, and smoke machines were placed close to the lamps. “The smoke created an explosion of light,” recalls Bryld. “It started snowing at one point, and the combination of snow and smoke added a really magical quality.” The end of that sequence 71 http://www.si-2k.com http://www.si-2k.com

Table of Contents Feed for the Digital Edition of American Cinematographer - April 2008

American Cinematographer - April 2008 Contents Editor's Note Global Village: The Counterfeiters Short Takes: Milia Production Slate: Paranoid Park Production Slate: All the Boys Love Mandy Lane Card Sharks Temple of Doom 3-D Cinematography Sundance 2008: Mining for Movies Post Focus: Digital Film Tree Gets into Peyote Post Focus: FotoKem’s 3-D Workflow Post Focus: Technicolor Digs in at Pinewood Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0 New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Rodney Taylor

American Cinematographer - April 2008

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