American Cinematographer - September 2016 - 72
◗
Grand Delusion
Sophia and Jan devise a plan to invest in the tulip market to allow her to escape her husband.
production purchased from a collector.
The production crew disassembled the
structure into two parts and reconstructed it in an L-shape onstage, where
it was also heightened and embellished
with galleries, walkways and staircases
crafted from pieces of leftover timber.
72
September 2016
"It wouldn't have been possible to get
this kind of set on our budget if we had
tried to build it from scratch," Elliott
muses. "And it gave us these beautiful
old timbers, with all the gnarls and
grain and joints and pins, and things
that I wouldn't have thought to include
American Cinematographer
in my designs."
The prop and special-effects
departments handled the on-camera
flames. Off-camera, Bryld enhanced the
practical flames with double-wick
candles mounted in 1,000' film cans;
custom soft boxes called "fire boxes,"
which were fitted with a random mix of
six to nine clear and soft tungsten bulbs
ranging from 60 to 275 watts; and coiled
tungsten-balanced rope lights mounted
to boards of various sizes, from 8" square
to 4' square. The fire-box and rope-light
effects were controlled by the lighting
desk, with some presets designed in prep
by Gilmour and Clayton and some
carried over from their last collaboration, 2015's Victor Frankenstein.
Depending on the shot, key light
would be provided by the rope lights or
fire boxes, or by bouncing Source Fours
directly off the set, using the color of
the walls to add a more natural hue to
the light. Additional ambience was
provided by Dedolight PanAura 7s, and
eye light by a PanAura 5 behind an 8'x8'
Full Grid frame. An electrician or
standby rigger hoisted and lowered the
lamps from a pulley in the ceiling when
they needed to quickly fly in and out of
the set.
Throughout the film, Bryld had
to be mindful of where and how the
characters used candlelight, "because
real candles would have been expensive
American Cinematographer - September 2016
Table of Contents for the Digital Edition of American Cinematographer - September 2016
Contents
American Cinematographer - September 2016 - Intro
American Cinematographer - September 2016 - Cover1
American Cinematographer - September 2016 - Cover2
American Cinematographer - September 2016 - 1
American Cinematographer - September 2016 - 2
American Cinematographer - September 2016 - Contents
American Cinematographer - September 2016 - 4
American Cinematographer - September 2016 - 5
American Cinematographer - September 2016 - 6
American Cinematographer - September 2016 - 7
American Cinematographer - September 2016 - 8
American Cinematographer - September 2016 - 9
American Cinematographer - September 2016 - 10
American Cinematographer - September 2016 - 11
American Cinematographer - September 2016 - 12
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American Cinematographer - September 2016 - 14
American Cinematographer - September 2016 - 15
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American Cinematographer - September 2016 - 20
American Cinematographer - September 2016 - 21
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American Cinematographer - September 2016 - 26
American Cinematographer - September 2016 - 27
American Cinematographer - September 2016 - 28
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American Cinematographer - September 2016 - 30
American Cinematographer - September 2016 - 31
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American Cinematographer - September 2016 - 34
American Cinematographer - September 2016 - 35
American Cinematographer - September 2016 - 36
American Cinematographer - September 2016 - 37
American Cinematographer - September 2016 - 38
American Cinematographer - September 2016 - 39
American Cinematographer - September 2016 - 40
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American Cinematographer - September 2016 - 50
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American Cinematographer - September 2016 - 70
American Cinematographer - September 2016 - 71
American Cinematographer - September 2016 - 72
American Cinematographer - September 2016 - 73
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American Cinematographer - September 2016 - Cover3
American Cinematographer - September 2016 - Cover4
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