American Cinematographer - November 2015 - 40
◗
Sinister Sect
face is lit in the same meticulous way in
different scenes: a ¾ frontal with a little
bit of fill. When you find the perfect
light for a face all the time, you step
away from reality. For this Bond I
wanted close-ups to have different feels,
and I also used different tools: RifaLites, fluorescents, LED panels.
I like to do dynamic close-ups,
where the light on the faces changes
because of the mise-en-scène. For
example, when Bond and Madeleine
[Léa Seydoux] are in the back room of
the hotel in Morocco, they're standing
in half-darkness, in a very soft ambient
light, and then they have a confrontation as they step into the light of an
overhead lightbulb hanging above a
table.
The Day of the Dead opening
sequence in Mexico City is shot without direct sunlight, and with a lot of
smoke. That gives the day exterior a
unique look.
Van Hoytema: We wanted to
make Mexico like an exotic, strange
dream. We would literally wait for the
sun to disappear, add smoke and shoot.
We added a lot of smoke, because we
really wanted to disperse the light, to
make the air feel heavy. We shot in
Mexico in [4-perf ] Super 35 with a
combination of the 50 and 250 [stocks].
We tried to shoot everything in
Mexico overcast, but we weren't always
successful; there are parts where the sun
breaks out. We wanted to reserve direct
sunlight for Morocco.
Why did you shoot Mexico City
with spherical Primos instead of
anamorphics?
Van Hoytema: I wanted to make
the image a little softer and grittier, as
well as help visual effects with some
extra negative at the top and bottom to
assist with their transitions for the
master shot. Spherical always feels a
little more rounded off; the edges are
taken off a little bit. Anamorphic is so
much sharper.
Some people feel that spherical
is sharper than anamorphic.
Van Hoytema: Not if you're
working with extremely well-tuned
Top and
middle: M
(Ralph Fiennes)
meets with
Bond. Bottom:
Mendes
prepares a
train-car
interior with
Craig and Léa
Seydoux.
40
November 2015
American Cinematographer
American Cinematographer - November 2015
Table of Contents for the Digital Edition of American Cinematographer - November 2015
Contents
American Cinematographer - November 2015 - Cover1
American Cinematographer - November 2015 - Cover2
American Cinematographer - November 2015 - 1
American Cinematographer - November 2015 - 2
American Cinematographer - November 2015 - Contents
American Cinematographer - November 2015 - 4
American Cinematographer - November 2015 - 5
American Cinematographer - November 2015 - 6
American Cinematographer - November 2015 - 7
American Cinematographer - November 2015 - 8
American Cinematographer - November 2015 - 9
American Cinematographer - November 2015 - 10
American Cinematographer - November 2015 - 11
American Cinematographer - November 2015 - 12
American Cinematographer - November 2015 - 13
American Cinematographer - November 2015 - 14
American Cinematographer - November 2015 - 15
American Cinematographer - November 2015 - 16
American Cinematographer - November 2015 - 17
American Cinematographer - November 2015 - 18
American Cinematographer - November 2015 - 19
American Cinematographer - November 2015 - 20
American Cinematographer - November 2015 - 21
American Cinematographer - November 2015 - 22
American Cinematographer - November 2015 - 23
American Cinematographer - November 2015 - 24
American Cinematographer - November 2015 - 25
American Cinematographer - November 2015 - 26
American Cinematographer - November 2015 - 27
American Cinematographer - November 2015 - 28
American Cinematographer - November 2015 - 29
American Cinematographer - November 2015 - 30
American Cinematographer - November 2015 - 31
American Cinematographer - November 2015 - 32
American Cinematographer - November 2015 - 33
American Cinematographer - November 2015 - 34
American Cinematographer - November 2015 - 35
American Cinematographer - November 2015 - 36
American Cinematographer - November 2015 - 37
American Cinematographer - November 2015 - 38
American Cinematographer - November 2015 - 39
American Cinematographer - November 2015 - 40
American Cinematographer - November 2015 - 41
American Cinematographer - November 2015 - 42
American Cinematographer - November 2015 - 43
American Cinematographer - November 2015 - 44
American Cinematographer - November 2015 - 45
American Cinematographer - November 2015 - 46
American Cinematographer - November 2015 - 47
American Cinematographer - November 2015 - 48
American Cinematographer - November 2015 - 49
American Cinematographer - November 2015 - 50
American Cinematographer - November 2015 - 51
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American Cinematographer - November 2015 - 53
American Cinematographer - November 2015 - 54
American Cinematographer - November 2015 - 55
American Cinematographer - November 2015 - 56
American Cinematographer - November 2015 - 57
American Cinematographer - November 2015 - 58
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American Cinematographer - November 2015 - 60
American Cinematographer - November 2015 - 61
American Cinematographer - November 2015 - 62
American Cinematographer - November 2015 - 63
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