American Cinematographer - June 2016 - 34

Top: Van Oosterhout crafted a look that combined the use of daylight and candlelight. Middle:
Lady Susan discusses the ideals of marriage with her daughter, Frederica (Morfydd Clark).
Bottom: Cast and crew capture a dance scene.

cinematographer, "and in places like an old
castle, you can't make actual fire - it's too
risky. So all of the firelight was made by using
a couple of lights on a flicker system. Very
simple, very old-fashioned."
Fletcher elaborates, "We had a
34

June 2016

couple of DIY soft boxes with 500-watt
photoflood bulbs. Dimmed down with a
flicker generator, they gave a nice warm
glow without needing any gel. Flicker was
kept to a minimum."
In a crowded night interior like the
American Cinematographer

dance scene, the crew relied on candelabras
plus dimmed Rifa 55s and 66s in the four
corners, mounted on lightweight booms
with stands running up behind the curtains,
thus granting space for the characters to
cavort. In contrast, the dinner scene where
Sir James Martin (Tom Bennett) marvels at
the peas ("Tiny green balls. How jolly!") was
set in a larger dining room with characters
remaining in their seats. "In that scene, we
were not moving camera at all, so we could
place the soft boxes really on the edge of the
frame," says van Oosterhout.
During color correction, which was
performed at Filmmore in Amsterdam, van
Oosterhout showed Stillman candlelit scenes
from Barry Lyndon (shot by John Alcott,
BSC). "My idea was, if you only have
candles, you don't see that much; colors fade
into the red part of the spectrum," says the
cinematographer. Stillman, though, wanted
to retain the color definition - and the spirit
of comedy. "If you're going to talk about
green peas, you have to be able to see
them," the director notes.
Van Oosterhout and Stillman worked
with colorist Fernando Rodrigues, who
utilized FilmLight's Baselight 4.4 during their
14-day color grade. The final 4K DCP master
"looks extremely crisp," says Rodrigues. For
van Oosterhout, "the main thing was
rhythm: If we had a scene that was cloudy
and soft-lit and the next scene was a
candlelit atmosphere, going from one to the
other shouldn't be a big shock, but it should
be different."
As a costume drama, Love &
Friendship stands out for its mix of period
authenticity and modern esprit. "It helped
that we lit in a natural way, because it's an
interesting contrast to the modern aspects
of the film," says van Oosterhout. "The
visual style, especially the light, feels very
authentic. The combination is nice: The
dialogue is so witty and modern, but still you
have the idea that you're in 1790."

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa XT
Cooke S4

●



American Cinematographer - June 2016

Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
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American Cinematographer - June 2016 - 11
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American Cinematographer - June 2016 - 15
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American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
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American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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