American Cinematographer - May 2015 - 24
Top: Adaline's Model A on a greenscreen stage.
Bottom: Cinematographer David Lanzenberg on the car-crash set.
raking the side of the car as it plows into the
fence." After the vehicle careens off the
road, it flips over several times. Key grip Finn
King credits special-effects coordinator Paul
Benjamin and his team "with building a
24
May 2015
hydraulic rotisserie that could roll the car
continuously. The [cab of the car] was placed
about 4 feet off the ground and attached to
'forks' on a hydraulic drive system that rolled
it over and over."
American Cinematographer
Close-ups of the car sinking in the
pond and Adaline's drowning and resurrection were shot onstage at Vancouver Film
Studios. Lanzenberg lauds the work of
production designer Claude Paré and his
team. "They did a fantastic job of building
the pond and the surrounding area, which
included a 25-foot-high ravine to show
how far the car tumbled. The pond was
built at ground level out of Styrofoam
blocks. We used a mixture of tungsten and
daylight fixtures for a kind of moonlit ambience: HMI Jem Balls and 5K and 10K tungsten units on Condors."
Another huge setup was a New
Year's Eve party set in the present, during
which Adaline meets Ellis for the first time.
This was shot in the Fairmont Hotel Vancouver in a giant ballroom and its adjacent
lobby. "Production was worried about
shooting there because the room easily
could accommodate 600 people and we
only had 150 extras," recalls Lanzenberg.
"But Lee was adamant about using it
because the room had these beautiful, tall
windows. We had to shoot the scene
during the day, so we blacked out the
windows to make it look like nighttime."
According to gaffer David Tickell,
the ballroom's overall ambience was
achieved with helium lighting balloons.
"We had two 3,700-watt hybrid Ellipse
balloons, each containing one 1,200-watt
HMI and one 2,500-watt tungsten bulb,
and a 7,400-watt tube balloon containing
2,500-watt HMI and 5K tungsten bulbs.
The hybrid [balloons] gave us the ability to
quickly change looks - we could have just
tungsten, just HMI or a mix of both. In addition, we had Barger-Lite 6-Lites with honeycomb grids to focus on the actors."
Lanzenberg favored soft light
throughout the film, aided by smoke, diffusion (usually Half, Quarter or Light Grid) or
sometimes both. The only time hard light
was used was for the brief black-and-white
16 SR3 footage. "We used Barger 6-Lites a
lot, as well as 2K and 750-watt Arrilites with
Chimeras," notes Tickell. "We always used
30-, 60- or 90-degree honeycomb grids to
help direct the light."
Lanzenberg affirms he wanted the
film to have a kind of "dreamy feel." He
sometimes added Tiffen 1 ⁄ 8 or 1 ⁄ 4 Low
Contrast filters to the lens but relied primar-
American Cinematographer - May 2015
Table of Contents for the Digital Edition of American Cinematographer - May 2015
Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
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American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
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American Cinematographer - May 2015 - 14
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American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
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American Cinematographer - May 2015 - 24
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American Cinematographer - May 2015 - 27
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American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
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American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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