American Cinematographer - April 2015 - 74

◗

Star-Crossed Love

Top: Kuras
captures
Sabine's
arrival at Le
Notre's home.
Bottom: The
crew preps an
interior scene,
lit primarily
with
Octodome
fixtures.

with nets behind the lenses, but in the
end I chose not to use any. I felt the
lights and lenses supplied the softness
we wanted. I shot as wide open as I
could throughout the film because I
wanted to keep the depth of field very
74

April 2015

short to capture a more painterly feeling. It's always a challenge for the focus
puller, but 1st AC Iain Struthers did a
masterful job.
Did you favor any particular
types of lights?
American Cinematographer

Kuras: I decided not to use tungsten for the night scenes because I don't
like how tungsten picks up the red and
magenta in people's faces when you're
shooting film. I wanted the faces to have
a more clean, alabaster feel. I ended up
using HMIs for night effects, putting
correction and coral gels on them. In
fact, I ended up using HMIs for almost
everything.
Because we were shooting on
film, and it was important to have
enough depth and detail in the shadows,
we needed more light than is expected
when shooting digital. But because we
were shooting at historical landmarks,
the amount of light we could bring into
a room was severely limited, including
light coming through windows - the
shutters remain closed in some of these
rooms all year 'round. Wherever there
were tapestries or textiles, the number of
lumens we could have operating in the
room was actually measured. The people
who control historical sites in England
carry their own light meters and were
constantly checking the light levels.
Tapestries are so sensitive to heat that



American Cinematographer - April 2015

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
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American Cinematographer - April 2015 - 13
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American Cinematographer - April 2015 - 21
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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
American Cinematographer - April 2015 - 68
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American Cinematographer - April 2015 - 73
American Cinematographer - April 2015 - 74
American Cinematographer - April 2015 - 75
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American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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