American Cinematographer - September 2008 - (Page 41) Though the director wanted to imbue The Duchess with the naturalism that defined his previous projects, this did not extend to using camerawork associated with a documentary style. Dibb explains, “Both cameras tended to be on dollies and quite carefully composed, but with the second camera you’d get a slightly abstract profile, or details of hands — things the main camera wasn’t looking for. Sometimes you’d get quite surprising framing because [the operators] were limited in where they could shoot from, but they’d come up with something that felt very fresh. It might only be used for one shot in the scene, but it’s a shot that gives you an extra angle you would never have had.” Pados operated the A camera, taking care of the key shots that would carry each scene, but he makes it clear that he could not have managed without the Bcamera team. “We had a fantastic second-camera operator, Gerry Vasbenter,” he says. “Gerry came up with some great ideas and really saved us at times. We were often so rushed that we weren’t even aware of what he was doing, but he got some great footage. It did mean a bit of a compromise because we didn’t always know what kind of light conditions he was shooting, which was one reason why I had to achieve a sort of general lighting that gave us both freedom. Nevertheless, he got some shots that were vital for the story. Of course, it’s ultimately more important to get the right material for a scene than to make the lighting perfect.” The film was always destined for a digital intermediate (DI), so Super 35mm initially seemed like the obvious format. However, tests conducted during prep convinced the filmmakers otherwise. “We shot tests of Super 35 and anamorphic side by side, and there was a Product Range Visualize your dreams terchangeable (IMS) inmount system 41 http://www.bensemanoff.com http://www.bensemanoff.com http://www.pstechnik.de
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