American Cinematographer - May 2015 - 39

interior scene during which Nathan and
Caleb get drunk in the living room.
Hardy removed the camera's matte box
and positioned a Rifa just outside of the
frame, so that its flare created a soft,
hazy effect, "which often works well for
digital formats where you're working
hard for any kind of texture."
In conveying his approach, Hardy
contrasts the style of a painter like
Vermeer, who favored strong, directional
sources, to that of Rembrandt, whose
light seemed to emanate from within
the frame. "I remember Lee [Walters]
had one LED light that he brought in
because he owned it," Hardy says. "We
used it once, and I diffused it so much

"There's a
gauziness to
tungsten light,
a texture."

that it could barely read. I had five
standing frames of Full Grid with about
10 inches between each frame. It did
look beautiful once you'd taken away the
element of it being a light."
Throughout the film, power
outages plague Nathan's facility; whenever an outage occurs, the interior is
flooded in a deep red light. "The red
lights were actually a part of the built-in
lighting," Hardy explains. "We'd use
double battens, or every other bulb in a
single batten would be a red bulb. We
could make the light sweep down a
corridor or change instantly. How we
did it was based on what we liked, and
what worked for the environment."
Beyond its association with emergency, the red-light look serves two
other storytelling purposes. First, its
appearance changes Ava; she becomes
shifty and wary, and reveals her mistrust
of Nathan. The gray mesh suit Vikander

wore on set - which is visible in the
finished film as Ava's opaque body
pieces - was designed to respond to
UV light, and during the first few
Turing sessions, the shift to red also
incorporated a UV lamp. "We ended up
dialing a lot of it out in the DI," Hardy
notes. "Even though it looked cool, it
didn't really serve the story. If anything,
it detracted from her performance."
In another instance, when Caleb

confronts Nathan about his seemingly
abusive behavior toward Ava, Nathan
deflects the accusations and with the flip
of a switch transforms his lounge into a
dance floor. The room is bathed in red
light as Oliver Cheatham's "Get Down
Saturday Night" is piped in over the
speakers. "Nathan changes the whole
nature of the red light," Hardy observes.
Complemented by pulsing RGB LED
panels recessed into the wall, the red


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American Cinematographer - May 2015

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

Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
American Cinematographer - May 2015 - 16
American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
American Cinematographer - May 2015 - 44
American Cinematographer - May 2015 - 45
American Cinematographer - May 2015 - 46
American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
American Cinematographer - May 2015 - 51
American Cinematographer - May 2015 - 52
American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
American Cinematographer - May 2015 - 56
American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
American Cinematographer - May 2015 - 59
American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
American Cinematographer - May 2015 - 64
American Cinematographer - May 2015 - 65
American Cinematographer - May 2015 - 66
American Cinematographer - May 2015 - 67
American Cinematographer - May 2015 - 68
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American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
American Cinematographer - May 2015 - 72
American Cinematographer - May 2015 - 73
American Cinematographer - May 2015 - 74
American Cinematographer - May 2015 - 75
American Cinematographer - May 2015 - 76
American Cinematographer - May 2015 - 77
American Cinematographer - May 2015 - 78
American Cinematographer - May 2015 - 79
American Cinematographer - May 2015 - 80
American Cinematographer - May 2015 - 81
American Cinematographer - May 2015 - 82
American Cinematographer - May 2015 - 83
American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
American Cinematographer - May 2015 - 86
American Cinematographer - May 2015 - 87
American Cinematographer - May 2015 - 88
American Cinematographer - May 2015 - 89
American Cinematographer - May 2015 - 90
American Cinematographer - May 2015 - 91
American Cinematographer - May 2015 - 92
American Cinematographer - May 2015 - 93
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American Cinematographer - May 2015 - 95
American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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