American Cinematographer - December 2010 - 20
Right: The future king meets with Logue in the therapist’s consulting room. Below: Prepping a shot of Logue’s son (Dominic Applewhite) in the consulting room are (from left) boom operator Mike Reardon, focus puller Peter Byrne, camera operator Zac Nicholson and director of photography Danny Cohen, BSC.
couple of frames of silk or bounced it into poly [through] a frame of silk.” At Lancaster House, which doubled for Buckingham Palace, Cohen’s crew rigged 30 4K HMI Pars outside the windows on scaffolding that a construction crew had already erected. (The mansion was undergoing renovation). This light was softened by Egyptian cotton, 300 meters in all. At Ely Cathedral, whose interior doubled for Westminster Abbey, the crew covered the windows and placed a row of
20 December 2010
4K Pars, aimed through 1⁄8 CTO and Lee 251 diffusion,on a balcony that ran along one side of the nave. The fixtures, all wired to dimmers, were aimed at the floor, where white sheets and unbleached muslin served as bounce. Most of the abbey scenes are set in the crossing, a large, octagonal space close to the center of the church. To light the crossing, an Airstar 8.4K Hybrid Ellipse balloon light (holding four 1.2K MSR bulbs and four 1K tungsten bulbs) was floated overhead, and a 4K tungsten balloon was
American Cinematographer
floated off to one side. A mix of other units — 2.5K Compacts, 4K Mole Beams and 6K Pars, most gelled with 1⁄8 CTO — were scattered throughout the church. “Tom was very keen on using wider lenses, typically 14mm, 18mm, 21mm, 25mm and 27mm, and often with the camera very close to the actor,” notes Cohen. The slight distortion of the image serves to underscore Bertie’s intense anxiety and discomfort. “If you put a lens 6 inches from somebody’s face, you get more emotion than if you’re on a long lens 20 feet away,” observes Cohen. Early in the film, Bertie has to give a speech at Wembley Stadium. Acamera/Steadicam operator Zac N icholson and focus puller Peter Byrne, both part of Cohen’s regular crew, recall the scene: “The intention was to shoot Bertie’s walk up the stairs and out onto the stands, and then capture as much of the speech as one 400foot mag would allow, in one Steadicam shot,” recounts N icholson. “[That entailed] squeezing through a very narrow gap as we came out into the stadium and onto the rostrum, [where Bertie steps] in front of the microphone, and then holding a static frame for what felt like ages.” Byrne picks up the story: “The Steadicam was on a 21mm lens.
American Cinematographer - December 2010
Table of Contents for the Digital Edition of American Cinematographer - December 2010
American Cinematographer - December 2010
Contents
Editor’s Note
President’s Desk
Short Takes: “Dot”
Production Slate
Danse Macabre
Up Against It
Romantic Chemistry
A Big-City Dream
Post Focus: 3-D Workflow at Company 3
Tomorrow’s Technology
Filmmakers’ Forum: Michael Grady
New Products & Services
International Marketplace
Classified Ads
Ad Index
2010 AC Index
ASC Membership Roster
Clubhouse News
ASC Close-Up
American Cinematographer - December 2010 - American Cinematographer - December 2010
American Cinematographer - December 2010 - Cover2
American Cinematographer - December 2010 - 1
American Cinematographer - December 2010 - 2
American Cinematographer - December 2010 - Contents
American Cinematographer - December 2010 - 4
American Cinematographer - December 2010 - 5
American Cinematographer - December 2010 - 6
American Cinematographer - December 2010 - 7
American Cinematographer - December 2010 - Editor’s Note
American Cinematographer - December 2010 - 9
American Cinematographer - December 2010 - President’s Desk
American Cinematographer - December 2010 - 11
American Cinematographer - December 2010 - Short Takes: “Dot”
American Cinematographer - December 2010 - 13
American Cinematographer - December 2010 - 14
American Cinematographer - December 2010 - 15
American Cinematographer - December 2010 - 16
American Cinematographer - December 2010 - 17
American Cinematographer - December 2010 - Production Slate
American Cinematographer - December 2010 - 19
American Cinematographer - December 2010 - 20
American Cinematographer - December 2010 - 21
American Cinematographer - December 2010 - 22
American Cinematographer - December 2010 - 23
American Cinematographer - December 2010 - 24
American Cinematographer - December 2010 - 25
American Cinematographer - December 2010 - 26
American Cinematographer - December 2010 - 27
American Cinematographer - December 2010 - 28
American Cinematographer - December 2010 - 29
American Cinematographer - December 2010 - Danse Macabre
American Cinematographer - December 2010 - 31
American Cinematographer - December 2010 - 32
American Cinematographer - December 2010 - 33
American Cinematographer - December 2010 - 34
American Cinematographer - December 2010 - 35
American Cinematographer - December 2010 - 36
American Cinematographer - December 2010 - 37
American Cinematographer - December 2010 - 38
American Cinematographer - December 2010 - 39
American Cinematographer - December 2010 - 40
American Cinematographer - December 2010 - 41
American Cinematographer - December 2010 - 42
American Cinematographer - December 2010 - 43
American Cinematographer - December 2010 - 44
American Cinematographer - December 2010 - 45
American Cinematographer - December 2010 - 46
American Cinematographer - December 2010 - 47
American Cinematographer - December 2010 - 48
American Cinematographer - December 2010 - 49
American Cinematographer - December 2010 - Up Against It
American Cinematographer - December 2010 - 51
American Cinematographer - December 2010 - 52
American Cinematographer - December 2010 - 53
American Cinematographer - December 2010 - 54
American Cinematographer - December 2010 - 55
American Cinematographer - December 2010 - 56
American Cinematographer - December 2010 - 57
American Cinematographer - December 2010 - 58
American Cinematographer - December 2010 - 59
American Cinematographer - December 2010 - 60
American Cinematographer - December 2010 - 61
American Cinematographer - December 2010 - 62
American Cinematographer - December 2010 - 63
American Cinematographer - December 2010 - Romantic Chemistry
American Cinematographer - December 2010 - 65
American Cinematographer - December 2010 - 66
American Cinematographer - December 2010 - 67
American Cinematographer - December 2010 - 68
American Cinematographer - December 2010 - 69
American Cinematographer - December 2010 - 70
American Cinematographer - December 2010 - 71
American Cinematographer - December 2010 - 72
American Cinematographer - December 2010 - 73
American Cinematographer - December 2010 - 74
American Cinematographer - December 2010 - 75
American Cinematographer - December 2010 - A Big-City Dream
American Cinematographer - December 2010 - 77
American Cinematographer - December 2010 - 78
American Cinematographer - December 2010 - 79
American Cinematographer - December 2010 - 80
American Cinematographer - December 2010 - 81
American Cinematographer - December 2010 - 82
American Cinematographer - December 2010 - 83
American Cinematographer - December 2010 - 84
American Cinematographer - December 2010 - 85
American Cinematographer - December 2010 - 86
American Cinematographer - December 2010 - 87
American Cinematographer - December 2010 - Post Focus: 3-D Workflow at Company 3
American Cinematographer - December 2010 - 89
American Cinematographer - December 2010 - 90
American Cinematographer - December 2010 - 91
American Cinematographer - December 2010 - Tomorrow’s Technology
American Cinematographer - December 2010 - 93
American Cinematographer - December 2010 - Filmmakers’ Forum: Michael Grady
American Cinematographer - December 2010 - 95
American Cinematographer - December 2010 - New Products & Services
American Cinematographer - December 2010 - 97
American Cinematographer - December 2010 - 98
American Cinematographer - December 2010 - 99
American Cinematographer - December 2010 - 100
American Cinematographer - December 2010 - 101
American Cinematographer - December 2010 - International Marketplace
American Cinematographer - December 2010 - 103
American Cinematographer - December 2010 - Ad Index
American Cinematographer - December 2010 - 2010 AC Index
American Cinematographer - December 2010 - 106
American Cinematographer - December 2010 - 107
American Cinematographer - December 2010 - 108
American Cinematographer - December 2010 - 109
American Cinematographer - December 2010 - 110
American Cinematographer - December 2010 - 111
American Cinematographer - December 2010 - ASC Membership Roster
American Cinematographer - December 2010 - 113
American Cinematographer - December 2010 - Clubhouse News
American Cinematographer - December 2010 - 115
American Cinematographer - December 2010 - ASC Close-Up
American Cinematographer - December 2010 - Cover3
American Cinematographer - December 2010 - Cover4
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