American Cinematographer - March 2015 - 44
◗
Slave to Love
Grey invites Steele on a nighttime helicopter ride.
dispassionate eye in front of the actors.
It's nice for them to not have an operator breathing inches from their faces."
The crew also used SuperTechno
30 and SuperTechno 50 cranes. The
former was called upon to push in and
track across and through the audience at
Ana's university graduation ceremony,
during which Kate gives a valedictorian
speech and Christian appears as a guest
speaker. Additionally, David Crone
operated Steadicam for a few shots,
44
March 2015
including a 360-degree dance in the
penthouse in which Christian, clad in
black, twirls Ana around after buying
her a sexy, peach-colored dress before
taking her to meet his family.
The movie dispenses with Ana's
first-person narration - an indelible
element of the book - but McGarvey
believes the filmmakers found a cinematic equivalent through various techniques, including increased camera
movement as the couple's relationship
American Cinematographer
intensifies, and decreased depth of field.
"We were trying to find ways of
photographing Ana's physical and
psychological dilemmas in a subjective
way," he explains. "It's about camera
movement and point of view. At the
start, the camera stands back, looking at
the action from a distance. Then we get
closer. It gets more charged as we get
into it, and more subjective. It's quite
simple, but sometimes that spare
approach pays dividends."
McGarvey started off shooting
mostly with 40mm and 50mm lenses,
but in later scenes he shifted largely to
longer lenses, including the 60mm.
"That particular lens has nice flaring
and great contrast," he says. "It's got
color and a lovely little personality. It
was our portrait lens for the sex scenes,
because it's got a lovely close focus.
Sometimes we'd use diopters with it,
which would give the effect of a wideangle close-up." The crew shot early
scenes at deep stops, such as T5.6 and
T8, for greater contrast and depth of
field, but for the intimate bedroom and
Red Room scenes, they shot wide open
to create a soft, sensual look.
After wrapping principal photography, the production reconvened for
five additional shooting days in
October, but McGarvey was unavailable
due to scheduling commitments on
Pan. While Taylor-Johnson admits to
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
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American Cinematographer - March 2015 - Cover3
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