American Cinematographer - January 2016 - 86
◗
Leading Lady
Left, top and bottom: Einar has an epiphany as he
models a woman's dress. Above: Einar
accompanies Gerda through a dance company's
costume storage.
ment/studio where Einar and Gerda
live, constructed at Elstree, looks as if it
could have been lifted right out of
Hammershøi's 1904 work Interior With
Young Woman From Behind. "Production
designer Eve Stewart did an amazing
job putting that together," says Cohen.
"We were trying to pull out features of
Hammershøi's paintings: lots of doorways, how different rooms contrast
against each other, and where the
windows are in relation to the door."
Cohen also worked closely with
costume designer Paco Delgado. "Paco
had a lot of fun with those amazing
period costumes," the cinematographer
recalls. "He was always offering
contrasting textures. It was a big, round
conversation among Paco, Eve and me.
We didn't want the costumes to fit
awkwardly against the walls. We wanted
it to look spot-on."
Additionally, there is an arc to the
86
January 2016
color palette as Einar transitions to Lili;
Gerda's career takes off with Lili as her
female model; and the couple moves to
Paris, where Lili blooms into her true
self. While their Copenhagen apartment is stark and limited in its color
range, their French flat is filled with
bric-à-brac and introduces a warm
mélange of brown, red, yellow, gold,
mauve, pink and orange.
The Danish Girl marks the first
digital collaboration between Hooper
and Cohen, a fact the cinematographer
chalks up to the budget. Cohen shot
The Program and London Road on Red
Epic Mysterium-X cameras, and then
employed Epic Dragons on Room. He
opted to stick with the latter for The
Danish Girl. "The Dragon gives more
latitude," he explains. "If you have something exposed in the foreground and the
background is bright, the highlights
don't overexpose. You keep more inforAmerican Cinematographer
mation. Also, the way the Dragon deals
with skin tones is more sophisticated. It
felt right because we wanted to get a lot
of detail in Eddie's and Alicia's skin and
facial expressions."
For optimal resolution, the filmmakers shot mostly in 6K full-frame
(6144x3160) resolution, but dropped
down to 5.5K or 5K for coverage on
wider lenses. Knowing they would
conform at a lower resolution, however,
they framed for a 1.85:1 extraction at
93.29 percent of the full-frame 6K
(1.94:1) image. "This gave the operators
additional 'look-around' at the edge of
frame and gave plenty of scope for any
image stabilization and/or reframing in
post," explains digital-imaging technician Anthony Bagley. The Redcode raw
footage was recorded to 512GB
RedMag 1.8" Mini SSDs.
During prep, Cohen and Hooper
used costume and makeup tests with
American Cinematographer - January 2016
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
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American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
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