American Cinematographer - April 2015 - 76
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Star-Crossed Love
Top: Rickman
steps in front of
the camera and
Kuras shoots from
over his shoulder.
Bottom: Kuras
captures Le Notre
as he surveys
the landscape.
even when we were using an Octodome,
which doesn't generate a lot of heat, they
had to be completely covered. Gaffer
Johnny Colley did an exceptional job of
finessing the light levels while creating
the moods we wanted, all within the
confines imposed on us.
There were other restrictions, as
76
April 2015
well. We couldn't do any rigging for
most of the film; everything had to play
off the floor. The Octodomes, which
can be plugged straight into the wall,
served us especially well. And while
candles were the primary means of
lighting during the 17th century, we
weren't allowed to use any open flames
American Cinematographer
in most of the historical locations
because of the obvious fire hazard, and
also because of the smoke they emit.
Our truly phenomenal production
designer, James Merifield, had gotten
hold of these unbelievably beautiful,
double-wicked beeswax candles, but
sadly we couldn't use them - and fake
candles weren't convincing.
When we could put lights outside
windows, we most often used 18Ks
bounced into bleached muslin or - if I
needed more range or distance - into
Ultrabounce. One such location was the
hallway outside of Le Notre's office. The
room was small and dark but had three
or four windows. We put up scaffolding
outside the windows and positioned
three 18Ks on it. Not only were these
platforms a lot cheaper than Condors,
but they also allowed us to get the lights
as far back as we wanted and to shift the
lights whenever we changed the angle of
the shot.
When Le Notre conducts his
interview with Sabine, however, Alan
wanted the shutters closed; he wanted
to just feel light coming through the
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
American Cinematographer - April 2015 - 14
American Cinematographer - April 2015 - 15
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American Cinematographer - April 2015 - 21
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American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
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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 - 76
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American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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