American Cinematographer - November 2013 - 18

Top: A young girl (Savannah Young) sleeps in the back seat of her father's car in this frame grab from
the video. Middle: The father (Nash Edgerton) carries his daughter to a vacant area, firework supplies in
tow. Bottom: London Grammar lead singer Hannah Reid crosses a bridge at dusk.

"I love Panavision anamorphic
glass," she continues. "There's an
emotional quality to the lenses, and they
can really help when shooting day exteriors;
the lenses smooth out harsh sunlight and
give it a kind of creamy quality." Because of
the inherent characteristics of the lenses, no
additional filtration was required, although
18

November 2013

Durald notes, "I used a horizontal, softedged grad just to take down the sky for
two wide shots."
The video incorporates three distinct
times of day, each of which required a
different approach: late afternoon, when
the father and daughter arrive and prepare
for the evening's festivities; dusk, when
American Cinematographer

non-narrative shots of London Grammar's
lead singer, Hannah Reid, were shot along
the bridge; and night, when the man suits
up in the L.A. River basin and fireworks fly
off his body. For smaller setups within the
first time period, the crew took pains to
maintain the late-afternoon feel over the
course of an all-day shoot. Accordingly,
Durald says, they "diffused the harsh
sunlight with a 12-by Half Soft Frost overhead and backlit the scene with two M40
HMIs through ¼ Straw."
For the close-ups of Reid - who
seems to be clandestinely trailing the
video's protagonists - Brown and Durald
were initially hoping for a bright, intense
sunset, but an overcast day turned out to
be a blessing in disguise, as the cinematographer explains: "We ended up with a
beautiful, soft pink and purple sunset,
which looked amazing on the lead singer."
Shot in shallow focus, Reid's light blond hair
is complemented by out-of-focus splotches
of pastel colors that frame her from the
background.
The video reaches its climax when
darkness falls and the man, having put on
his armored suit, reveals himself as a living,
breathing fireworks display. (For the fireworks sequences, lead actor Nash Edgerton
was replaced onscreen by Wally Glenn,
a.k.a. Pyro Boy, the inventor of the fireworks suit.) "It was so unique to be shooting down there [in the basin] with approval
to have someone wearing a fireworks
suit," says Durald.
The cinematographer adds that she



American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
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American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
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American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
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American Cinematographer - November 2013 - 73
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American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
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American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
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American Cinematographer - November 2013 - 84
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American Cinematographer - November 2013 - 86
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American Cinematographer - November 2013 - 89
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American Cinematographer - November 2013 - 112
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