American Cinematographer - August 2011 - 44
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Darkest Arts
Top: In a frame grab from Part 1, the Snatchers prepare to nab Harry and his friends and turn them over to Lord Voldemort. Bottom: The crew captures Radcliffe on the run in the woods.
Eduardo it worked very well, because he’s so disciplined with his lighting.” On occasion Serra had to be flexible with the simple, natural lighting style for which he is renowned. “I don’t like using backlight, but if you’re doing a night scene with 1,000 people and a lot of visual effects, then you might not have a choice,” he says. For the nighttime courtyard scene he’s describing, which takes place during the battle for Hogwarts in Part 2 , the unavoidable backlight came from two full Wendy Lights on 150'cranes. These were combined with four soft sources overhead, each comprising 18 space lights in
44 August 2011
a box with the sides blacked off and a 30'x10'silk positioned underneath. It was the more intimate scenes that gave Serra a chance to express the natural look Yates had envisaged. Examples of this include interiors of the magic tent in which Harry, Hermione and Ron live while on the run from dark forces in Part 1. “Most of the tent scenes were done with practicals, although I had some soft light coming down from above the set as well,” says Serra. “I tried to keep the lighting to a minimum.” Finch adds, “We hung China balls wherever we could, just above the practicals, and put peanut bulbs behind
American Cinematographer
the oil lamps to lift the back of the tent. It was almost always a real flame in the lamps themselves.” The practicals were oil lanterns because there is no electricity in Potter’s magical world, so lighting these sections of the story could sometimes be like working on a period film. Serra notes, “I’ve done a lot of period lighting in my career, on Girl With a Pearl Earring [AC Jan. ’04] and Wings of the Dove [AC June ’98], as well as earlier films in France and Portugal, so I’ve been working with flame-based sources for a long time.” The result was exactly what Yates desired. “The tent scenes were beautiful, as was the lighting at Grimmauld Place, another location where Harry, Hermione and Ron hide out,” says the director. “I think Eduardo’s real gift is that he can light a scene incredibly naturalistically and believably, and yet it can still have this wonderful, painterly quality to it.” For scenes that take place in the non-magical world of Muggles (i.e., humans), which does have electricity, a more contemporary approach could be taken. At a moment of extreme danger in Part 1, Harry and his friends magically transport themselves to central London and take refuge in a dingy café, which provided Serra with an opportunity to utilize more gritty, urban lighting.
American Cinematographer - August 2011
Table of Contents for the Digital Edition of American Cinematographer - August 2011
American Cinematographer - August 2011
Contents
Editor’s Note
President’s Desk
Short Takes: The Arrival
Production Slate: Rise of the Planet of the Apes • Femme Fatales
Cosmic Questions
Darkest Arts
An All-American Hero
Once Upon a Time in the West
Post Focus
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Tom Houghton
American Cinematographer - August 2011 - American Cinematographer - August 2011
American Cinematographer - August 2011 - Cover2
American Cinematographer - August 2011 - 1
American Cinematographer - August 2011 - 2
American Cinematographer - August 2011 - Contents
American Cinematographer - August 2011 - 4
American Cinematographer - August 2011 - 5
American Cinematographer - August 2011 - 6
American Cinematographer - August 2011 - 7
American Cinematographer - August 2011 - Editor’s Note
American Cinematographer - August 2011 - 9
American Cinematographer - August 2011 - President’s Desk
American Cinematographer - August 2011 - 11
American Cinematographer - August 2011 - Short Takes: The Arrival
American Cinematographer - August 2011 - 13
American Cinematographer - August 2011 - 14
American Cinematographer - August 2011 - 15
American Cinematographer - August 2011 - 16
American Cinematographer - August 2011 - 17
American Cinematographer - August 2011 - Production Slate: Rise of the Planet of the Apes • Femme Fatales
American Cinematographer - August 2011 - 19
American Cinematographer - August 2011 - 20
American Cinematographer - August 2011 - 21
American Cinematographer - August 2011 - 22
American Cinematographer - August 2011 - 23
American Cinematographer - August 2011 - 24
American Cinematographer - August 2011 - 25
American Cinematographer - August 2011 - 26
American Cinematographer - August 2011 - 27
American Cinematographer - August 2011 - Cosmic Questions
American Cinematographer - August 2011 - 29
American Cinematographer - August 2011 - 30
American Cinematographer - August 2011 - 31
American Cinematographer - August 2011 - 32
American Cinematographer - August 2011 - 33
American Cinematographer - August 2011 - 34
American Cinematographer - August 2011 - 35
American Cinematographer - August 2011 - 36
American Cinematographer - August 2011 - 37
American Cinematographer - August 2011 - 38
American Cinematographer - August 2011 - 39
American Cinematographer - August 2011 - Darkest Arts
American Cinematographer - August 2011 - 41
American Cinematographer - August 2011 - 42
American Cinematographer - August 2011 - 43
American Cinematographer - August 2011 - 44
American Cinematographer - August 2011 - 45
American Cinematographer - August 2011 - 46
American Cinematographer - August 2011 - 47
American Cinematographer - August 2011 - An All-American Hero
American Cinematographer - August 2011 - 49
American Cinematographer - August 2011 - 50
American Cinematographer - August 2011 - 51
American Cinematographer - August 2011 - 52
American Cinematographer - August 2011 - 53
American Cinematographer - August 2011 - 54
American Cinematographer - August 2011 - 55
American Cinematographer - August 2011 - 56
American Cinematographer - August 2011 - 57
American Cinematographer - August 2011 - Once Upon a Time in the West
American Cinematographer - August 2011 - 59
American Cinematographer - August 2011 - 60
American Cinematographer - August 2011 - 61
American Cinematographer - August 2011 - 62
American Cinematographer - August 2011 - 63
American Cinematographer - August 2011 - 64
American Cinematographer - August 2011 - 65
American Cinematographer - August 2011 - 66
American Cinematographer - August 2011 - 67
American Cinematographer - August 2011 - 68
American Cinematographer - August 2011 - 69
American Cinematographer - August 2011 - 70
American Cinematographer - August 2011 - 71
American Cinematographer - August 2011 - Post Focus
American Cinematographer - August 2011 - 73
American Cinematographer - August 2011 - 74
American Cinematographer - August 2011 - 75
American Cinematographer - August 2011 - New Products & Services
American Cinematographer - August 2011 - 77
American Cinematographer - August 2011 - 78
American Cinematographer - August 2011 - 79
American Cinematographer - August 2011 - 80
American Cinematographer - August 2011 - 81
American Cinematographer - August 2011 - International Marketplace
American Cinematographer - August 2011 - Classified Ads
American Cinematographer - August 2011 - Ad Index
American Cinematographer - August 2011 - 85
American Cinematographer - August 2011 - Clubhouse News
American Cinematographer - August 2011 - 87
American Cinematographer - August 2011 - ASC Close-Up: Tom Houghton
American Cinematographer - August 2011 - Cover3
American Cinematographer - August 2011 - Cover4
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