American Cinematographer - January 2016 - 88

◗

Leading Lady

Lights rigged outside the windows provided
illumination for interiors in the Wegeners'
Paris-apartment set.

Redmayne, Vikander and Heard to
formulate a look-up table with digital
colorist Adam Glasman at London's
Goldcrest Films. This involved adjusting the Dragoncolor/Redgamma 4 color
space for a distinct dailies look.
Cohen also tested an array of
lenses but ended up shooting primarily
with Arri/Zeiss Master Primes, which
he felt best rendered the sets and
Redmayne's evolving look. To achieve a
shallow depth of field, Hooper insisted
on shooting at T1.3 with the Master
Primes; this is used to great effect in a
scene in which Gerda, on deadline for a
portrait, innocently asks Einar to model
a dress for her. It is then that Einar has
an epiphany, realizing how right he feels
in women's clothing. The camera is tight
on his hands caressing the dress, with
the rest of the frame soft.
"The subject pops out from the
background in an interesting way,"
88

January 2016

Cohen says of the scene. "There's really
one spot to look at. It brings more
texture to the image and becomes more
sensuous." This soft look made diffusion
filters unnecessary, but 0.3 or 0.6 ND
filters were used occasionally to keep the
lenses wide open. Additionally, a
Lensbaby would occasionally be used for
this kind of selective focus.
The movie was shot with two
cameras, which is how Cohen often
works. Iain Mackay, a London Road
collaborator, operated the A camera
while Cohen manned the B camera,
with a second monitor on his camera
that allowed him to see Mackay's frame.
First ACs Adam Coles and John Evans
traded off on the A and B cameras.
Because of the small margin for error
and the proximity of the cameras from
one another, they often pulled focus
remotely while watching 9" TVLogic
HD monitors. Coles recalls that shootAmerican Cinematographer

ing wide open "was very difficult, especially in the digital world, but as long as
we knew Tom had all the moments he
wanted, we were able to move on to the
next shot."
The filmmakers didn't want to
throw all their backgrounds out of focus,
however, and so they frequently relied
on wider 18mm, 21mm, 27mm and
32mm lenses. "If you stay wider, the
viewer will feel there's more going on
than just the actor plumb center in the
frame," Cohen explains. "There's a
whole world you can relate to. Eve and
Paco do amazing stuff, so if you put up a
150mm and the background's mush,
you're throwing away the work of the art
and costume departments."
That said, there are long-lens
moments, such as when Lili mysteriously leaves the Paris apartment and an
anxious Gerda runs out to the balcony to
watch her go. The crew shot from



Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
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American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
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