American Cinematographer - March 2015 - 37

the same set of Panavision C Series
anamorphic prime lenses he used on
Godzilla. "We would play with the
distortions, such as flares, that are inherent in the glass," he says. "They're beautiful lenses that take the edge off digital
cleanliness and give it more personality." Pleased with the lenses' inherent
softness, he didn't use diffusion filters
- only 0.9 or 1.2 ND filters when
shooting exteriors at 800 ASA.
The crew also used Panavision E
Series 135mm and 180mm anamorphic
primes for close-ups, and the 40-80mm
T2.8 AWZ2 anamorphic wide-angle
zoom for crane work and some sex
scenes. Additionally, McGarvey sometimes positioned the camera further
back and found the frame with the 70200mm T3.5 ATZ anamorphic telephoto zoom.
The filmmakers strove to maximize the dramatic possibilities of the
widescreen anamorphic format. "We
wanted to work with the space between
the characters, and extreme compositions," McGarvey offers. "The aspect
ratio allowed us to push the notion of
symmetry and order."
Most of the movie was shot on a
dolly. Taylor-Johnson explains, "I feel
that the whole film is about control, and
it just wouldn't work if there was any
sense of an erratic nature. We had a very
controlled environment and were
governed by that."
More than half the movie was
shot onstage at North Shore Studios,
which allowed for greater privacy for
the highly intimate material. One of the
biggest sets was Christian's office, where
the lovers first meet. Ana sits nervously,
interviewing the outwardly self-confident tycoon, who starts off looking out
his floor-to-ceiling windows, paces, sits
at his desk, and then settles down beside
her, his interest aroused.
The office set featured a
Translight of the Seattle cityscape illuminated by Mole-Richardson 5K
Skypan lights and situated 18' behind
the 12'-high windows. A soft sunlight
source was provided by Arri T12 lamps
with Chimera Light Banks, which the

Top: With the
Arri Alexa XT on
a slider, the crew
captures a scene
outside a coffee
shop. Middle
and bottom:
Steele's interest
in Grey increases
after the photo
shoot and a
coffee date.

www.theasc.com

March 2015

37



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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
American Cinematographer - March 2015 - 9
American Cinematographer - March 2015 - 10
American Cinematographer - March 2015 - 11
American Cinematographer - March 2015 - 12
American Cinematographer - March 2015 - 13
American Cinematographer - March 2015 - 14
American Cinematographer - March 2015 - 15
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American Cinematographer - March 2015 - 17
American Cinematographer - March 2015 - 18
American Cinematographer - March 2015 - 19
American Cinematographer - March 2015 - 20
American Cinematographer - March 2015 - 21
American Cinematographer - March 2015 - 22
American Cinematographer - March 2015 - 23
American Cinematographer - March 2015 - 24
American Cinematographer - March 2015 - 25
American Cinematographer - March 2015 - 26
American Cinematographer - March 2015 - 27
American Cinematographer - March 2015 - 28
American Cinematographer - March 2015 - 29
American Cinematographer - March 2015 - 30
American Cinematographer - March 2015 - 31
American Cinematographer - March 2015 - 32
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
American Cinematographer - March 2015 - 59
American Cinematographer - March 2015 - 60
American Cinematographer - March 2015 - 61
American Cinematographer - March 2015 - 62
American Cinematographer - March 2015 - 63
American Cinematographer - March 2015 - 64
American Cinematographer - March 2015 - 65
American Cinematographer - March 2015 - 66
American Cinematographer - March 2015 - 67
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American Cinematographer - March 2015 - 72
American Cinematographer - March 2015 - 73
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American Cinematographer - March 2015 - 84
American Cinematographer - March 2015 - 85
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American Cinematographer - March 2015 - 87
American Cinematographer - March 2015 - 88
American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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