American Cinematographer - July 2017 - 57

The crew readies
an exterior of the
stables.

subtle changes in light came thanks to
Wegner's almost complete reliance on
natural light. She'd initially imagined
building towers outside the secondfloor, south-facing windows, but "in the
end, that was something else I allowed
to be sacrificed," she says. "Actually, I
think it was a good call, because the
natural light in there was really beautiful." Wegner shaped it using bleached
muslin on the floor and several 4'x4'
floppies for negative fill, and by exploiting the mansion's massive shutters to
control the natural daylight coming into
the room. Late in the day, she would
bolster the fading daylight with a Kino
Flo Celeb 201 LED.
The visual touchstone for the
movie's daylight atmosphere was the
cool, northern light in the paintings
of Vilhelm Hammershøi, a Danish
artist Oldroyd had discovered when
directing Ibsen. "The light is different
in the north of England," says the
director, who lived for a time in
Durham. "It feels more Scandinavian."
Hammershøi's domestic interiors were
not only flooded with this type of cool
daylight, they often featured a woman
in black facing away from the viewer.

"We knew that Katherine would be
wearing black for about half of the film,
being in mourning," Oldroyd notes.
"And these faceless women were a bit
like Katherine, because she's robbed of
her personality by the men."
Given the story's 1865 setting,
nighttime interiors involved candles,
lanterns and firelight. "But we didn't
want to make a film with heaps of
candles in frame," says Wegner. "We felt
it was too romantic."
The cinematographer's lighting
www.theasc.com

package was "pretty pared back," she
says, with her biggest unit being a 6K
HMI. In addition to the single Celeb
201, the crew also carried one Arri
M18, one 1.2K Fresnel, two 575-watt
HMIs and a 400-watt Pocket Par.
Tungsten units ranged from 2K
Fresnels and Blondes to a 150-watt
Dedolight kit. China lanterns that
could be fitted with photofloods of 500
and 275 watts rounded out the package.
Wegner's crew was similarly
compact. Her 1st AC, Daniel Foeldes,
July 2017

57


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
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American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
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American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
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American Cinematographer - July 2017 - Cover3
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