American Cinematographer - May 2010 - 59
examples of the movie’s lighting style: cold, white shafts of light from the windows key both sets. Penttila notes that the 19th-century mansion that served as the Vanger estate “was perfect for the movie but extremely difficult to light, because the rooms we wanted to use were on the upper levels. It was 7 meters [23'] from the ground to the bottom of the windows.” A 6K with a medium lens was placed outside each window on a cherry picker. Nothing could be attached to the windows, so the crew made special gel frames and positioned them close to the glass; the top 2⁄3 of the frames were 250, while the bottom third was ½ CTO. “It worked great,” recalls Penttila. “With one lamp, we were able to get both soft ambience and harsher light — Eric wanted harsh light on Vanger’s desk. Cirro Mist gave the scene even more atmosphere.” Chimeras with 1,000-watt bulbs dimmed down 70-80 percent provided soft backlight in the office, adding a touch of warmth. Kress notes that his favorite lighting tools are Chimeras and Kino Flos. On Dragon Tattoo, he mostly used KF29 Kino Flos, adding 1⁄8 or ¼ CTS. He prefers placing instruments on stands or on the ground. The interior of Blomkvist’s guesthouse, another set built onstage, was lit primarily by 5Ks and 10Ks placed on the floor outside the set’s many windows and bounced into frames of poly and bleached white muslin. Production designer Niels Sejer designed the set to feature hard ceilings and windows along every wall. “It really gave you the sense of being there,” enthuses Kress. Most of the cottage scenes were shot by additional cinematographer Jens Fischer, FSF, who stepped in when the production ran over schedule and Kress had to depart to honor another commitment. To justify all the windows, the filmmakers decided to suggest the cottage was next to the sea. “In late winter, the days [are getting brighter], and light seems to be bouncing into the house from every direction,” says Penttila. “We didn’t even use low-boards or turtle bases. I just used stirrups to angle the lamps about 20 degrees.” ➣
www.theasc.com
Top: Kress checks the light on Taube in Vanger’s guesthouse, a set built onstage. Cinematographer Jens Fischer, FSF shot a majority of the film’s guesthouse scenes after the shoot ran long and Kress had to depart for another project. Middle: Kress enjoys a light moment on location. Bottom: Director Niels Arden Oplev (wearing purple baseball cap) and Rapace discuss the upcoming shot as Kress stands by with the camera.
May 2010
59
http://www.theasc.com
American Cinematographer - May 2010
Table of Contents for the Digital Edition of American Cinematographer - May 2010
American Cinematographer - May 2010
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Heritage Award Winners
Production Slate: The Man Next Door • Academy Sci-Tech Awards
Armor Wars
Wonders of the Sea
Lost and Found Families
Dark Secrets
Deep Visual Roots
Post Focus: Restoring A Star Is Born
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Intro
American Cinematographer - May 2010 - American Cinematographer - May 2010
American Cinematographer - May 2010 - Cover2
American Cinematographer - May 2010 - 1
American Cinematographer - May 2010 - 2
American Cinematographer - May 2010 - Contents
American Cinematographer - May 2010 - 4
American Cinematographer - May 2010 - 5
American Cinematographer - May 2010 - 6
American Cinematographer - May 2010 - 7
American Cinematographer - May 2010 - Editor’s Note
American Cinematographer - May 2010 - 9
American Cinematographer - May 2010 - President’s Desk
American Cinematographer - May 2010 - 11
American Cinematographer - May 2010 - Short Takes: ASC Heritage Award Winners
American Cinematographer - May 2010 - 13
American Cinematographer - May 2010 - 14
American Cinematographer - May 2010 - 15
American Cinematographer - May 2010 - 16
American Cinematographer - May 2010 - 17
American Cinematographer - May 2010 - Production Slate: The Man Next Door • Academy Sci-Tech Awards
American Cinematographer - May 2010 - 19
American Cinematographer - May 2010 - 20
American Cinematographer - May 2010 - 21
American Cinematographer - May 2010 - 22
American Cinematographer - May 2010 - 23
American Cinematographer - May 2010 - Armor Wars
American Cinematographer - May 2010 - 25
American Cinematographer - May 2010 - 26
American Cinematographer - May 2010 - 27
American Cinematographer - May 2010 - 28
American Cinematographer - May 2010 - 29
American Cinematographer - May 2010 - 30
American Cinematographer - May 2010 - 31
American Cinematographer - May 2010 - 32
American Cinematographer - May 2010 - 33
American Cinematographer - May 2010 - 34
American Cinematographer - May 2010 - 35
American Cinematographer - May 2010 - 36
American Cinematographer - May 2010 - 37
American Cinematographer - May 2010 - 38
American Cinematographer - May 2010 - 39
American Cinematographer - May 2010 - Wonders of the Sea
American Cinematographer - May 2010 - 41
American Cinematographer - May 2010 - 42
American Cinematographer - May 2010 - 43
American Cinematographer - May 2010 - 44
American Cinematographer - May 2010 - 45
American Cinematographer - May 2010 - 46
American Cinematographer - May 2010 - 47
American Cinematographer - May 2010 - 48
American Cinematographer - May 2010 - 49
American Cinematographer - May 2010 - Lost and Found Families
American Cinematographer - May 2010 - 51
American Cinematographer - May 2010 - 52
American Cinematographer - May 2010 - 53
American Cinematographer - May 2010 - 54
American Cinematographer - May 2010 - 55
American Cinematographer - May 2010 - Dark Secrets
American Cinematographer - May 2010 - 57
American Cinematographer - May 2010 - 58
American Cinematographer - May 2010 - 59
American Cinematographer - May 2010 - 60
American Cinematographer - May 2010 - 61
American Cinematographer - May 2010 - 62
American Cinematographer - May 2010 - 63
American Cinematographer - May 2010 - 64
American Cinematographer - May 2010 - 65
American Cinematographer - May 2010 - 66
American Cinematographer - May 2010 - 67
American Cinematographer - May 2010 - 68
American Cinematographer - May 2010 - 69
American Cinematographer - May 2010 - 70
American Cinematographer - May 2010 - 71
American Cinematographer - May 2010 - Post Focus: Restoring A Star Is Born
American Cinematographer - May 2010 - 73
American Cinematographer - May 2010 - Tricks of the Trade
American Cinematographer - May 2010 - 75
American Cinematographer - May 2010 - New Products & Services
American Cinematographer - May 2010 - 77
American Cinematographer - May 2010 - 78
American Cinematographer - May 2010 - 79
American Cinematographer - May 2010 - 80
American Cinematographer - May 2010 - 81
American Cinematographer - May 2010 - 82
American Cinematographer - May 2010 - 83
American Cinematographer - May 2010 - International Marketplace
American Cinematographer - May 2010 - Classified Ads
American Cinematographer - May 2010 - Ad Index
American Cinematographer - May 2010 - Clubhouse News
American Cinematographer - May 2010 - ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Cover3
American Cinematographer - May 2010 - Cover4
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