American Cinematographer - July 2015 - 71

and lead guitarist, respectively. "It was a
difficult shot because as Marilyn's walking through the party, there's a wall of
glass that shows the pool outside,"
Yeoman says. "So there were reflection
issues, plus we had to make the transition to the exterior."
To light the interior, Vecchio
removed 4' Kino tubes from their backings and slipped them into Full Grid
sleeves that the grips rigged together in
groups of four. "That gave me a flexible,
soft, low-profile fixture I could either
pack up above doorways or stand up
against a section of the wall we weren't
seeing," the gaffer says. Additionally,
Kino Flo Celeb 200 DMX LEDs positioned low served as a TV light on the
buzzed revelers, and Vecchio trailed
Haarhoff with a small China ball to
throw some fill on the actors as they
moved through the room.
Outside, the walkway beside the
pool was lit by an 8K tungsten balloon.
A tungsten 6K Skyball on a menace arm
extending out from the roof provided
ambience above the pool, which was
also lit from underwater by HydroPar
1,000-watt units with Par 64 globes. Par
36 landscape bulbs up-lit trees and
plants. "We put in some practicals, but
much of the illumination came from the
nice glow of the underwater lighting,"
Yeoman notes. "It felt almost like a
David Hockney painting."
The early-'60s scenes have a
touch of Kodachrome brilliance, while
the palette later in the decade incorporates elements of garish psychedelia.
Overall, though, Pohlad wanted the
decade to look warm and romantic.
When the movie jumps 20 years ahead,
Danny Glicker's costumes and the art
department's work provided periodappropriate visual cues. "We gravitated
toward letting the production design do
a lot of the work, rather than doing
something super-dramatic with different cinematic looks," Pohlad explains.
"That said, the 'Brian-future' era would
have a cold white and blue cast to it. We
were going for that Eighties feeling."
Yeoman adds, "We took more
time and were more careful with the

Top: The crew uses a flyswatter rig to control the ambient daylight for a shot with Ledbetter's
convertible. Bottom: Yeoman, Pohlad and crew prepare to shoot in the car.

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July 2015

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

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
American Cinematographer - July 2015 - 16
American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
American Cinematographer - July 2015 - 32
American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
American Cinematographer - July 2015 - 64
American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
American Cinematographer - July 2015 - 69
American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
American Cinematographer - July 2015 - 74
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American Cinematographer - July 2015 - 76
American Cinematographer - July 2015 - 77
American Cinematographer - July 2015 - 78
American Cinematographer - July 2015 - 79
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American Cinematographer - July 2015 - 81
American Cinematographer - July 2015 - 82
American Cinematographer - July 2015 - 83
American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
American Cinematographer - July 2015 - 86
American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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