American Cinematographer - October 2017 - 73

(Lionel Lingelser) at the Palace of
Versailles was shot at the historic Wilton
House in Salisbury, England. "The
Wilton House is an amazing palace that
was used in Barry Lyndon," McNutt
relates. "We used a combination of
Steadicam and cranes to give us the flexibility to show off the beauty and magnitude of the world in which they lived.
Steadicam operators Andrei Austin and
Ossie McLean really pulled out all the
stops." There were strict rules prohibiting
the placement of anything on or near the
walls, though McNutt reports that the
production was "allowed to use candles on
floor-standing candelabras."
At McNutt's request, Napier
created an aluminum tube wrapped in
LED lights that he fitted into China
balls, which were used for fill and strung
near the chandeliers, as well as inside
balloons placed throughout the ballroom.
"I used a large balloon in the center of the
ballroom, skirting it with black, and then
a lower bobbinet skirt to make the
shadow on the wall more gradual,"
McNutt says. "Smaller balloons were used
in other rooms, but when possible I
preferred to light from the floor or the
fireplaces. I used a Menace Arm to lift
instruments when I needed to work
within a crowd. It's quite a challenge to
give the room shape when your control is
so limited. The crew is outstanding and I
think we did rather well.
"The blue LED China balls that I
designed with Scott Napier were used for
cool fill against the warmth of the firelight, and also to provide sheens on walls
and paintings in the background," he
continues. "In most locations we were
able to hang the China ball on a string
suspended between the chandeliers. The
weight was so small that it was approved.
It did create problems at times [in terms
of ] seeing the ceilings, but we planned the
shots in advance and were able to remove
the necessary sources to get the job done."
For the fireworks display at the end
of the ball, the actors gathered around the
windows, looking toward greenscreens
placed by the visual-effects team.
Through his lighting console, Towler
synced a light bar with the corresponding
lights and colors of the visual-effects fire-


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Table of Contents for the Digital Edition of American Cinematographer - October 2017

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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