American Cinematographer - January 2016 - 92

◗

Leading Lady
bone structure and his look if the camera
was slightly above his eye line," Cohen
notes. "For much of the film we were
trying to get one or two inches above
him. If we had worked at a more
comfortable height, we would have
missed a trick."
Redmayne's face is the movie's
central image, and the filmmakers'
primary challenge was making the
actor's subtle transition from male to
female convincing. Says Cohen's longtime gaffer Paul McGeachan, "When
Eddie was Einar, we lit him like you
would a man. But when he became Lili,
we used big, soft sources and concentrated more on eye lights, as you would
with a leading lady."
Big, soft sources were ideal as the
crew often had to light two "leading
ladies" at the same time, with one
camera in close on Vikander and the
other on Redmayne as Lili. Backlight
was mostly avoided, and, depending on
the size of the set, sources included two
or three 5' 1K Dedoflex Octodomes,
650-watt Lowel Rifa lights, 1Ks or 2Ks
directed through an 8'x8' Grid Cloth,
and a 2K or 5K bouncing off poly
wrapped in muslin. Lights were often
positioned low to avoid dark eyes, and
Chinese lanterns provided additional
eye light.
The crew had to light the
Wegeners' apartment interiors to appear
consistent with the exteriors they would
later shoot in Copenhagen, where the
sunshine would be limited and the light
has what McGeachan describes as a
"blue-gray" hue, just like the set design.
"We didn't know what the skies were
going to be like, but I was in touch with
our local crew in Denmark," the gaffer
recalls. "They told us where the light
would normally be at certain times, but
you can never legislate it. It can easily
change, but they mostly were right."
To allow the filmmakers to simulate various positions and levels of
daylight, the apartment set had numerous lights - including a couple of 24K
Dinos, 20K Molebeams and 10Ks -
pre-rigged outside the main window
and run through dimmers that could be

Top: Hans Axgil
(Matthias
Schoenaerts) and
Gerda
accompany Einar
to the train
station. Middle:
Lili arrives at the
Dresden clinic of
Kurt Warnekros
(Sebastian Koch)
for a series of
operations.
Bottom: Lili
begins her new
journey.

92

January 2016

American Cinematographer



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
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
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American Cinematographer - January 2016 - 11
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American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
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American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
American Cinematographer - January 2016 - 23
American Cinematographer - January 2016 - 24
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American Cinematographer - January 2016 - 40
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American Cinematographer - January 2016 - 45
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American Cinematographer - January 2016 - 50
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American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
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
American Cinematographer - January 2016 - 64
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