American Cinematographer - November 2013 - 30

Top left: Domscheit-Berg pursues a lead
provided by anonymous whistleblowers.
Bottom left: Crewmembers capture Brühl on
the move. Top right: Cinematographer Tobias
Schliessler, ASC surveys an office setting.

"We shot through a 50/50 mirror that
reflected the text from the computer screen
and gave the feeling of being inside the
computer looking back through the screen.
Additionally, we also projected the same
content on our actors' faces and their
surroundings using two video projectors
simultaneously, one focused on their faces
and one for the background set. In the
scene, the text is eventually supplanted by
CGI [provided by Prologue] that shows how
the submitted information is hidden by
layers of fake data, keeping the identity of
sources safe."
The sequence then lands back in the
30

November 2013

beach office, which was shot on a Brussels
soundstage. Cumberbatch and the steel
desks, lit by overhead practical fluorescents,
were shot in front of a greenscreen, and the
sky was added by New York's Phosphene,
which also provided set extensions. The
scene was additionally lit with more than
200 of Temmerman's custom-made flat
fluorescent "Easyliter" fixtures, which were
rigged in 36 12'x12' soft boxes with Light
Grid Cloth, creating the feeling of a soft
night sky. The sequence is revisited throughout the film with an increasingly darker sky
that mirrors the film's dramatic arc.
Temmerman's Easyliters were used in
American Cinematographer

nearly every scene. "We used them on
stands as our key light or bounced them
into foam core as fill light," Schliessler
explains. "We hung them off booms for
backlight or toplight in small locations
where it was not possible to rig off the ceilings. Wim made them in various sizes -
from singles to eight banks, from 6 inches
to 4 feet. The best part was the stepless
dimming system. I could control the remote
dimmer from my DIT tent off the lighting
console or even off an iPad."
The picture was shot in the 2.40:1
aspect ratio, and the main-unit camera
package included two Arri Alexa Studios as
the show's A and B cameras, and an Arri
Alexa Plus as the C camera. DIT Sean
Leonard explains that for the Studio
cameras, the crew shot in ArriRaw to Codex
S Plus Recorders with 512GB data packs,
while for the Alexa Plus they used the M
Recorder. They also recorded ProRes 4:4:4:4
to SxS cards for backup.
Although Schliessler had shot only
one other digital feature - the forthcoming war drama Lone Survivor - he had
worked with the Alexa on commercials. "It
just felt like the right camera for this movie
in terms of contrast and what it does in the
highlights," he says. "I look at digital



American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
American Cinematographer - November 2013 - 52
American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
American Cinematographer - November 2013 - 64
American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
American Cinematographer - November 2013 - 68
American Cinematographer - November 2013 - 69
American Cinematographer - November 2013 - 70
American Cinematographer - November 2013 - 71
American Cinematographer - November 2013 - 72
American Cinematographer - November 2013 - 73
American Cinematographer - November 2013 - 74
American Cinematographer - November 2013 - 75
American Cinematographer - November 2013 - 76
American Cinematographer - November 2013 - 77
American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
American Cinematographer - November 2013 - 80
American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
American Cinematographer - November 2013 - 83
American Cinematographer - November 2013 - 84
American Cinematographer - November 2013 - 85
American Cinematographer - November 2013 - 86
American Cinematographer - November 2013 - 87
American Cinematographer - November 2013 - 88
American Cinematographer - November 2013 - 89
American Cinematographer - November 2013 - 90
American Cinematographer - November 2013 - 91
American Cinematographer - November 2013 - 92
American Cinematographer - November 2013 - 93
American Cinematographer - November 2013 - 94
American Cinematographer - November 2013 - 95
American Cinematographer - November 2013 - 96
American Cinematographer - November 2013 - 97
American Cinematographer - November 2013 - 98
American Cinematographer - November 2013 - 99
American Cinematographer - November 2013 - 100
American Cinematographer - November 2013 - 101
American Cinematographer - November 2013 - 102
American Cinematographer - November 2013 - 103
American Cinematographer - November 2013 - 104
American Cinematographer - November 2013 - 105
American Cinematographer - November 2013 - 106
American Cinematographer - November 2013 - 107
American Cinematographer - November 2013 - 108
American Cinematographer - November 2013 - 109
American Cinematographer - November 2013 - 110
American Cinematographer - November 2013 - 111
American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
American Cinematographer - November 2013 - Cover4
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