American Cinematographer - May 2018 - 34
◗
Don't Speak
Right: Marcus
takes shelter
in the
family's disused
pickup truck.
Below: The
crew captures
the action.
ters were. I was also able to follow each
individually [within] the cornfield." The
production also employed a 30'
Technocrane and a MovieBird for select
scenes.
Nearly all footage for A Quiet
Place was captured on practical locations.
The Abbott property included a farmhouse, a barn, cornfields, a grain silo and
a tractor shed. The barn and the silo -
the latter of which was a meticulous
replica, as "there was no silo at the spot
we wanted it on the farm," Christensen
says - bookended the property, with the
cornfields between them. Creating
moonlight that spanned the entire farm
at night was "a bit daunting at first,"
Almeida admits. "When I came
onboard, Charlotte and I walked around
34
May 2018
the entire site. A farm at night is pitchblack! And there was a lot of very rough
terrain. We used five generators and a lot
of cable - much of it buried - to
power up the space. I felt the HMI
Bebee Light was the best tool to use. We
had two of them; they were our 'moonlight.' Luckily, a road completely
surrounded the farm and I was able to
quickly place the lights almost anywhere
along the perimeter. We gelled them
with 1⁄2 CTO and used medium to
small HMIs around the cameras to
provide light more locally. The Bebees
are great because you can individually
focus each of the 15 6K heads anywhere
you like. You can also dim them or
flood-spot each head. They gave us so
much flexibility."
American Cinematographer
Emmerichs recalls another particularly difficult night shot in the dense
cornfield - a 180-degree wrap around
Lee. "Charlotte lit the scene beautifully,
using the two Bebee lights and a few
lamps in lifts. It was a really nice wrap
around John as he stood on a tractor,
watching his worst nightmare approach
through the cornfield."
The film's numerous crane shots
offered psychological as well as visual
benefits. "We wanted to get off the
ground, just to lift the audience out of
the crazy situation these people were in,"
Christensen explains. "The feeling of
being up high seemed important.
Furthermore, in order to work safely,
[especially] with the kids, we built
several on-stage sets for the scenes on the
Table of Contents for the Digital Edition of American Cinematographer - May 2018
Contents
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American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
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