American Cinematographer - January 2016 - 90

◗

Leading Lady

Top: Lili models for Gerda's painting. Bottom: Gerda is hurt by Lili's decision
to permanently abandon her male identity.

ground level, looking up at and focusing
on Vikander, with the building soft
behind her. Such long-lens location
shots were done with Nikon Nikkor
telephoto lenses, including a 200mm
(T2), while an Angenieux Optimo 24290mm (T2.8) zoom proved handy for
quick reframing of crowd scenes, for
example when Lili, in her new identity,
visits a Copenhagen market.
Cohen relates that Hooper
particularly likes the Arri/Zeiss Ultra
90

January 2016

Prime 8R 8mm rectilinear lens, which
was used for shooting across a
Copenhagen street as Gerda, grasping
her portfolio, anxiously walks to a
gallery for an interview; the lens
captured the scope of the building
behind her. Elsewhere, a 12mm Master
Prime was used to register an old, sooty,
textured 30'x200' wall on a street Lili
passes on her way to a peep show - not
to be aroused, but to mimic the
performer. "The 12mm is not as wide as
American Cinematographer

the rectilinear, but it distorts more,"
Cohen explains. "The design of the
rectilinear is amazing. It doesn't barrel
the edges as much as you would expect.
The 12mm feels slightly fisheye in
comparison. These quirks of different
lenses make things interesting."
Throughout the shoot, the
cameras mostly lived on dollies, with
some Steadicam work by Mackay. "We
were going to do more Steadicam but
ended up moving the camera more
subtly," Cohen explains. Notable
Steadicam moments include intercut
shots of Einar and Gerda playfully
walking through a dance company's
costume storage, searching for clothes
that would suit Lili. Darker in tone and
requiring several takes was a long shot in
a Paris park (actually filmed in Brussels)
in which a partially made-up Lili is
brutally attacked by a pair of disapproving loiterers. Technocranes were also
used on several days, but interior overhead shots, such as Lili on an operating
table being anesthetized prior to
surgery, were accomplished with a jib
arm.
When on the dolly, the camera
was optimally kept high on Redmayne.
"It really worked in terms of Eddie's



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
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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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American Cinematographer - January 2016 - Cover3
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