American Cinematographer - April 2015 - 32

Top: Terrier assesses his surroundings. Bottom: The crew adds 'sunlight' to a scene.

Labiano: That was one of the questions: how to photograph heat. When you
go to these countries and take photos, it
always looks like a beautiful day, but really
you're sweating and miserable. It's very difficult to [capture] that in a film. But we
wanted that harsh lighting, so we waited
until the sun was very high, or else I would
put in my own 'sun' - 18Ks and 12K Pars
on cranes - and kick the reflections straight
to camera. We filtered the light a little bit
warmer with CTO and CTS, brought in
32

April 2015

negative fill to make the shadows darker,
and used makeup to keep everyone looking
a little sweaty. It's mostly the direction of the
light and overexposing the highlights. Open
up a little bit - one stop is usually enough
- so the highlights become hotter on the
shoulder. Once you go into the [grade], it's
easy to make it brighter or darker.
The dialogue scene between
Terrier and Cox [Mark Rylance] in the
corporate tower serves as a narrative
focal point of the London sequence.
American Cinematographer

How did you film it?
Labiano: We asked the location
manager to find an office in London, facing
south, where the sun hits the building as a
kind of backlight when looking at the
windows. It was an expensive location, so we
had to go in and get out very fast, and it had
to be very well planned. We shot one side in
the morning, and in the afternoon we
turned around. We were surrounded by glass
that reflected every light we had, so we tried
to shoot with as much natural light as possible - except for the faces, which we lit with
[Dedolight] Tecpro Felloni LED panels. You
can dim the lights without changing their
color temperature, and you can adjust the
color temperature by turning a little knob.
I used a lot of negative fill there as
well. It was more a job for our key grip [David
McAnulty] in London than our gaffer [Chris
Day]. In the end I think the exterior was
about 1½ stops over [compared] to the
faces. You could still see London in the background.
The Barcelona scenes possess a
distinctly different look - something
soft and warm.
Labiano: Barcelona has a much more
Mediterranean look. For the villa [that
belongs to Felix, played by Javier Bardem],
my reference was the work of Gordon Willis
[ASC] and The Godfather. I always saw it in
my mind as a Corleone-type villa. Half of it
we filmed in London. When you see
windows and stone walls, we were on location 40 minutes north of Barcelona, in the
Penedès region. When Terrier and Annie are
in the corridors being chased by the mercenaries, we were on a soundstage in Wimbledon.
The raid on the villa features a lot
of different elements, with action in and
outside of the house. Did you have a
second unit?
Labiano: The second unit was there
[with director of photography Juan Miguel
Azpiroz], and they helped us with the mercenaries surrounding the house and all of the
shooting afterwards. The second unit had
three or four Red Epics. Sometimes I would
lend them lenses, but they had their own set
of Panavision Primo anamorphics.
Our B camera was almost always on a
Steadicam operated by Ramón Sánchez. We
also did a lot of handheld. Pierre operated



Table of Contents for the Digital Edition of American Cinematographer - April 2015

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
American Cinematographer - April 2015 - 12
American Cinematographer - April 2015 - 13
American Cinematographer - April 2015 - 14
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American Cinematographer - April 2015 - 21
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American Cinematographer - April 2015 - 27
American Cinematographer - April 2015 - 28
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American Cinematographer - April 2015 - 31
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American Cinematographer - April 2015 - 33
American Cinematographer - April 2015 - 34
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American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
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American Cinematographer - April 2015 - 42
American Cinematographer - April 2015 - 43
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American Cinematographer - April 2015 - 47
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American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
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American Cinematographer - April 2015 - 60
American Cinematographer - April 2015 - 61
American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
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American Cinematographer - April 2015 - 70
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American Cinematographer - April 2015 - 81
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American Cinematographer - April 2015 - 102
American Cinematographer - April 2015 - 103
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American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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