American Cinematographer - August 2013 - 28

Top:
Cinematographer
Nic Knowland,
BSC (second from
left) surveys the
set. Bottom:
Gilderoy mics an
actress (Fatma
Mohamed) during
a dubbing session.

grade. I set up a small onboard monitor and
adjusted it to give me the higher-contrast,
slightly darker look I thought I would want.
I was able to trust what I was seeing, and off
we went.” (Some 16mm was shot for a
nature-documentary sequence near the end
of the film that references Box Hill near
Dorking, Gilderoy’s hometown. This was
shot on the actual location using an Aaton
XTR-Prod and short ends of Kodak Vision3
250D 7207 and 500T 7219.)
Knowland initially chose a set of Zeiss
Superspeed Mk III prime lenses, but the
crew was losing time changing lenses and
repositioning the camera, and the cinematographer found the focus at T1.3
“agonizing.” They switched to an Angenieux HP 25-250mm zoom, which allowed
them to perform a few zooms as a nod to
the 1970s. However, after experiencing
28

August 2013

some difficulties with that lens, they
returned their entire lens package to
Movietech Camera Rentals and got an
Angenieux Optimo 24-290mm. “It’s
massive, but it did mean we didn’t have any
lens changes,” says Knowland. “We were
able to work flexibly.” He shot mostly at a
T2.8, which he found “gave a nice depthof-field.”
Knowland’s crew included gaffer
Andy Lowe, who also ran a digital projector
that serves both the story and as a light
source. Chris Rusby was the grip, while 1st
AC Tom McFarling handled several rack
focuses and shots drifting out-of-focus that
contribute to the film’s dreamlike mood.
“Tom liked to have his own monitor at a
right angle to the camera, where he could
see where the camera was and where the
actor was and judge distances,” says KnowAmerican Cinematographer

land. “He was focus pulling a lot on the
monitor.”
Knowland operated the camera,
which was usually on a dolly. “I felt it was
important for Peter to keep the communication down to as few people as possible,”
he says of operating. “I had direct access to
him, and he had direct access to me. We
didn’t have to worry about anybody else
interpreting our thoughts.”
Many of the shots are tight frames
that emphasize the claustrophobic tension
among characters. Knowland feels he
moved the camera a fair bit, but subtly. “I
hope there’s no gratuitous movement. It’s
there because it serves what’s going on, and
if you’re engaged, you probably won’t
notice it, and that’s fine.” He used a sliding
base plate that allowed him to inch the
camera to either side without having to
engage his grip.
Ten days were devoted to the final
grade at London’s Deluxe 142, where
colorist Rob Pizzey worked on a DaVinci
Resolve. “I was there, but I left it up to Nic,”
Strickland recalls. “The grading was quite
easy because he got it all in-camera. A lot of
it was fine-tuning. I was just observing in
awe and fascination. It was really good to
work with Nic. I learned so many things
from him. He’s very laid-back, and you feel
safe in his hands.”
Knowland says that despite the limitations of budget and time, the film fell into
place very much as Strickland conceived it.
“I look at the film and it’s totally Peter’s,
coming through the people he worked
with. I’ve got huge admiration for him. I
think it’s a really subtle and wonderful
piece.”

TECHNICAL SPECS
1.85:1
Digital Capture and Super 16mm
Arri Alexa, Aaton XTR-Prod
Zeiss and Angenieux
Kodak Vision3 250D 7207, 500T 7219
Digital Intermediate
●



American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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