American Cinematographer - September 2019 - 79

p For this day interior between Skelly and Rhys,
Murphy employed "a mix of a large, soft key
outside the set, mixed with a smaller splash of
hard light - again from outside - cut off at the
shoulder." u When it came to the scene's closeups, the cinematographer adds, "a single Kino Flo
was added for some modeling from the key side."

prevented us from moving closer."
This deliberately limited selection of
lenses resulted in what Murphy refers
to as "a classical style. We'd start with
a 35mm for our wides, then swing to
a 50mm or a 75mm and move the
camera a little closer for coverage.
This meant we'd have a better chance
of keeping our coverage as dirty twoshots, and we could incorporate more
of the environment into the medium
close-ups. It helps keep the audience
engaged in the world more effectively
than if something was on a longer
lens with a softer background."
Death and Nightingales prepped for
four weeks and shot for eight, wrapping about a week after AC's visit. As
evidenced during that visit, Murphy
commonly employed diffused light
from outside a location. "My
approach to interiors is to light the
scene, not the shot," he explains.

"When I work like that, I find the light
falls off in a more authentic and
natural way. I tend to work with large
sources outside the location and very
few, if any, lights on the floor. I tended
to use Arrimax 18Ks and M90s outside
the windows, pushed through several
layers of either Day Gray muslin or
Magic Cloth, sometimes combined
with an intermediate layer of Lee 129
Heavy Frost diffusion."
To suggest an evening sky
outside the library's windows,
Murphy
and
gaffer
Kevin
Heatherington expanded this technique to include mixed color temperatures. "I had Kevin and his team
build a series of Ultrabounces outside
www.ascmag.com

the large windows that ran the length
of the building," the cinematographer
reveals. "I bounced large HMIs into
each Ultrabounce, with 5K tungsten
Fresnels with 1 ⁄ 2 CTO pushing
directly through the windows at a
very low height. The windows themselves were covered on the outside
with Day Gray muslin, and on the
inside with net curtains by the art
department. By shooting at 4,300K on
the camera, I had a lovely warm key
light at the bottom of each window,
with a colder ambience pushing
through the rest for cooler shadows."
Heatherington speaks warmly
of Murphy's traditional approach to
lighting. "We didn't have any LED on
September 2019

79



http://www.ascmag.com

American Cinematographer - September 2019

Table of Contents for the Digital Edition of American Cinematographer - September 2019

Contents
American Cinematographer - September 2019 - Cover1
American Cinematographer - September 2019 - Cover2
American Cinematographer - September 2019 - 1
American Cinematographer - September 2019 - Contents
American Cinematographer - September 2019 - 3
American Cinematographer - September 2019 - 4
American Cinematographer - September 2019 - 5
American Cinematographer - September 2019 - 6
American Cinematographer - September 2019 - 7
American Cinematographer - September 2019 - 8
American Cinematographer - September 2019 - 9
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American Cinematographer - September 2019 - 11
American Cinematographer - September 2019 - 12
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American Cinematographer - September 2019 - 14
American Cinematographer - September 2019 - 15
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American Cinematographer - September 2019 - 17
American Cinematographer - September 2019 - 18
American Cinematographer - September 2019 - 19
American Cinematographer - September 2019 - 20
American Cinematographer - September 2019 - 21
American Cinematographer - September 2019 - 22
American Cinematographer - September 2019 - 23
American Cinematographer - September 2019 - 24
American Cinematographer - September 2019 - 25
American Cinematographer - September 2019 - 26
American Cinematographer - September 2019 - 27
American Cinematographer - September 2019 - 28
American Cinematographer - September 2019 - 29
American Cinematographer - September 2019 - 30
American Cinematographer - September 2019 - 31
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American Cinematographer - September 2019 - 33
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American Cinematographer - September 2019 - 37
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American Cinematographer - September 2019 - Cover3
American Cinematographer - September 2019 - Cover4
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