American Cinematographer - September 2017 - 72
◗
Mean Streets
of photography on set. Each episode was
allocated a three-day grade, with Rose
supervising, and the producers were "very
happy for that to happen. With someone
who's got a legacy on the show, you can go
in and do some early notes and a runthrough, and then you can leave them to
get on with it," says Rose.
"Often, the problem with any grading is availability," Rose continues. "I was
working almost immediately [after Peaky
Blinders], and I had to rush off to the
grade while I was in prep or even while I
was shooting."
Grattarola and Rose referred to
Autochrome photographs, an early color
process available during the period in
which Peaky Blinders takes place. "They're
desaturated in all but RGB," the cinematographer says, "so the primary reds,
greens and blues remain strong.
Everything else has a slight sepia tint to it;
the focus is very shallow - just beautiful,
dreamlike images of an early color process.
They're very charming."
Colors, Grattarola points out,
"create an emotional response. For the first
[season], our references were deeply
rooted in classic Western films like
McCabe & Mrs. Miller and Heaven's Gate
[both shot by Vilmos Zsigmond, ASC,
HSC]. The good thing is that the story
still inhabits some of the old world, so that
look stays. As Season 3 develops, you start
to get more of an insight into the mind of
Tommy - his inner workings, his loss,
sadness, and a sense of fear." Grattarola
used an unusual approach to simulate a
hand-tinted image in "the wedding scene
and the fair later in the series," the colorist
notes. "I had to find a way to re-create [the
Autochromes], so I turned the image
black-and-white, and - using a color
qualifier - picked out the original colors.
Instead of dialing the saturation back in, I
used them solely as qualifiers and washed
my own color back into their qualified
areas. This created a hand-tinted feel."
"When they did a preview of the
first episode before it was broadcast,
Steven Knight said that Peaky Blinders can
be seen like any good cowboy film," the
cinematographer recalls. "It's writing your
own legends, and that's sort of what
Top: Rose and
crew ready a
night exterior
around a fire.
Middle: The
camera is taken
handheld for a
shot of Arthur
(Paul Anderson)
and Linda Shelby
(Kate Phillips).
Bottom: A
Steadicam holds
Murphy in frame.
72
September 2017
American Cinematographer
American Cinematographer - September 2017
Table of Contents for the Digital Edition of American Cinematographer - September 2017
Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
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