American Cinematographer - September 2016 - 74

◗

Grand Delusion

Right:
Windows provided
motivation for
day-interior
lighting. Middle and
bottom: For the
tulip exchange,
Bryld explains, "We
wanted it to be a
scary and unsettling
underworld. By
lighting with
practical fires and
candles we created
all these moving
shadows and this
sort of everchanging
environment."

in those days, and as a source they can
sometimes be too cosmetic," he
remarks. "There's the cliché of people
moving around at night with candles,
but if you're in a dark environment and
the only light is a candle in your hand,
then the only thing you'll see is your
hand. It would kill your night vision."
Low light levels in the tulip
exchange forced Bryld to stop down to
a T2/2.8 and push the Alexa's ISO up to
1,250, which made the flames burn
74

September 2016

hotter in the frame. "They weren't regular-wick candles - more like fires in
cups and bowls - and they gave off an
erratic flame as opposed to pretty, flattering candlelight," the cinematographer explains. "We spent a bit of time in
the DI bringing color back into the
flames."
Tulip Fever was photographed
primarily with Arri/Zeiss Master
Anamorphic primes, with spherical
Master Primes rounding out the tight
American Cinematographer

and wide angles. "At the time, [the
Master Anamorphics] didn't come any
longer than 100mm, which was fine
because I don't like using long lenses
unless I have to," says Bryld. "I'd rather
stay on the same lens when we go from
a wide shot into a close-up and just
move the camera."
According to 1st AC Jennie
Paddon, the 50mm and 40mm Master
Anamorphics were the hero lenses, with
the 100mm used for special close-ups.
"We would also use the 50mm and the
40mm with a diopter to get us a close
focus with a dramatic falloff," she notes.
Exterior scenes set along the
canal in Amsterdam were also filmed in
the U.K. The production found an old
Tudor building in Kent with a 300'-long
brick facade and an elevated ground
floor above a wide, rolling lawn. The
filmmakers built their canal on top of
the lawn so that the raised footpath met
the building at its ground floor.
"It was a clever and fantastic set
to photograph," says Bryld. "Windows
became doors. There were bridges and
walkways. The challenge was that we
[always] had to face the building
because there was nothing on the other
side. On top of that, we were shooting
in the summer, and our set was facing
south, which meant that the sun would
be behind us for most of the day."
Clayton notes that while shooting the canal exterior, the crew "had to
design shots around where the sun was."
The exterior set also limited the gaffer's



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
American Cinematographer - September 2016 - 13
American Cinematographer - September 2016 - 14
American Cinematographer - September 2016 - 15
American Cinematographer - September 2016 - 16
American Cinematographer - September 2016 - 17
American Cinematographer - September 2016 - 18
American Cinematographer - September 2016 - 19
American Cinematographer - September 2016 - 20
American Cinematographer - September 2016 - 21
American Cinematographer - September 2016 - 22
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American Cinematographer - September 2016 - 24
American Cinematographer - September 2016 - 25
American Cinematographer - September 2016 - 26
American Cinematographer - September 2016 - 27
American Cinematographer - September 2016 - 28
American Cinematographer - September 2016 - 29
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American Cinematographer - September 2016 - 31
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American Cinematographer - September 2016 - 33
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American Cinematographer - September 2016 - 36
American Cinematographer - September 2016 - 37
American Cinematographer - September 2016 - 38
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American Cinematographer - September 2016 - 74
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