American Cinematographer - March 2015 - 35

Top: Grey's office
interior was built
onstage at
Vancouver's
North Shore
Studios. Middle
and bottom:
After stumbling
through the
interview, Steele
leaves believing
it went badly.

which earned him Academy Award
nominations - and the forthcoming
big-budget fantasy Pan. "It's probably
the most straightforward movie I've
shot - but it had to be, because the
content is so extreme. We were going
for simplicity, leaving the complexity to
the story's erotic drama and charge."
The movie follows a visual trajectory that opens in Christian's desaturated world. Production designer David
Wasco, set decorator Sandy ReynoldsWasco and costume designer Mark
Bridges collaborated on a monochromatic color palette that reflects the
climate of the Pacific Northwest setting,
as well as Christian's surname. His environment encompasses black, white and
many shades of gray, extending to his
office, apartment, wardrobe, and even
the outfits of his immaculate army of
blonde employees. The introduction of
Ana into his life brings color and then
greater saturation as things heat up and
they enter the Red Room.
McGarvey worked closely with
the Wascos, who built light wells, architectural LED accent lights and other
practical fixtures into the sets. "It's lovely
when you work with production designers who understand lighting and want
to work with you," he says. "It makes my
job, and the director's, much easier."
Working on an estimated budget
of $40 million, the production rolled
camera in December 2013 in
Vancouver, where McGarvey had shot
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March 2015

35


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American Cinematographer - March 2015

Table of Contents for the Digital Edition of American Cinematographer - March 2015

Contents
American Cinematographer - March 2015 - Cover1
American Cinematographer - March 2015 - Cover2
American Cinematographer - March 2015 - 1
American Cinematographer - March 2015 - 2
American Cinematographer - March 2015 - Contents
American Cinematographer - March 2015 - 4
American Cinematographer - March 2015 - 5
American Cinematographer - March 2015 - 6
American Cinematographer - March 2015 - 7
American Cinematographer - March 2015 - 8
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American Cinematographer - March 2015 - 28
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American Cinematographer - March 2015 - 30
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American Cinematographer - March 2015 - 33
American Cinematographer - March 2015 - 34
American Cinematographer - March 2015 - 35
American Cinematographer - March 2015 - 36
American Cinematographer - March 2015 - 37
American Cinematographer - March 2015 - 38
American Cinematographer - March 2015 - 39
American Cinematographer - March 2015 - 40
American Cinematographer - March 2015 - 41
American Cinematographer - March 2015 - 42
American Cinematographer - March 2015 - 43
American Cinematographer - March 2015 - 44
American Cinematographer - March 2015 - 45
American Cinematographer - March 2015 - 46
American Cinematographer - March 2015 - 47
American Cinematographer - March 2015 - 48
American Cinematographer - March 2015 - 49
American Cinematographer - March 2015 - 50
American Cinematographer - March 2015 - 51
American Cinematographer - March 2015 - 52
American Cinematographer - March 2015 - 53
American Cinematographer - March 2015 - 54
American Cinematographer - March 2015 - 55
American Cinematographer - March 2015 - 56
American Cinematographer - March 2015 - 57
American Cinematographer - March 2015 - 58
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American Cinematographer - March 2015 - 60
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American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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