American Cinematographer - October 2017 - 72
◗
Love Is a Battlefield
For scenes shot
at Craigmillar
Castle just
outside
Edinburgh, the
production was
tasked with
blocking out
sunlight in the
prison
courtyard
while
complying with
the restriction
to not touch
the location's
stone walls.
between the [time periods]. For the
Forties, the colors were saturated differently with fire, and I was going for more
of the hand-painted pastel feel. Night
scenes were lit by incandescents, and fire
took second place unless it was in direct
connection to the past."
In a scene shot by Walker, which
appears in Episode 1 of Season 3 -
"The Battle Joined" - a pregnant
Claire is at their new home in Boston,
trying to readjust to modern conveniences like a gas stove. Frustrated with
72
October 2017
her inability to light the burner, Claire
turns to the methods of the 18th century
and cooks her meal in the fireplace. The
light from the fireplace, Walker explains,
was derived from "a combination of real
flame special effects and the multi-channel LED lighting pads [which were]
wirelessly linked to the desk controlled
by Jon Towler. The pads contained tungsten LiteGear LED tape laid in strips."
Each season of Outlander - a
show whose cinematographers have also
included David Higgs, BSC; Denis
American Cinematographer
Crossan, BSC; Michael Swan, SASC;
Martin Fuhrer, BSC; and Neville Kidd
- not only marks a new era for Claire
and Jamie, but also new locations, such
as Claire, Jamie and Murtagh's trip to
Paris. As the French city's aesthetics
have changed significantly since the
18th century, production shot the Parisbased scenes in historically preserved
locations, such as Prague Castle, as well
as areas throughout Scotland and
England. McNutt tested several cameras
for those scenes, and opted for Arri's
Alexa Plus, as it was determined to
properly reproduce the colors of Steele's
sets, as well as the hues of the elaborate
costumes designed by Terry Dresbach.
"Our primes [for the Alexas] were
Cooke S4s, and the zooms were the
[Arri/Fujinon] Alura 15.5-45mm
[T2.8], 18-80mm and 45-250mm,"
McNutt says. "We tested a number of
cameras and decided that the Alexa was
the most accurate in [terms of ] the delicate color rendition that was necessary to
record the amazing costumes, sets and
locations that made up Paris. We shot
3.2K with the Arri, and went to 4K
when we returned to Scotland and
converted [back] to the Sony F55."
The ball held by King Louis XV
Table of Contents for the Digital Edition of American Cinematographer - October 2017
Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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