American Cinematographer - November 2016 - 66

*|*

"W

e didn't want a fairy-tale
atmosphere," says cinematographer Óscar Faura. Despite its fantastical elements, a realistic look was
paramount for director J.A. Bayona's A
Monster Calls. Central to achieving this
goal were lighting and lens-package
choices made in collaboration with
gaffer José Luis Rodríguez and 1st AC
Guillem Huertas, respectively.
Huertas explains that Vantage
Film's Hawk V-Lite Vintage '74
anamorphic primes - comprising
45mm-110mm focal lengths - were
selected as the main lens set because of
their unique visual properties, which
Faura felt would add texture to digitally
acquired imagery. "This particular lens
set has a special coating [that re-creates
that of 1970s lenses]," Huertas notes.
"The director and Óscar loved the aberrations and imperfections that they
provided.
"The movie [also] had a lot of
visual effects that we needed to complement with a set of lenses with fewer
artifacts," Huertas continues. "That is
why we combined [the Vintage] lenses
with 'regular' Hawk V-Lite anamorphic
lenses. Then we also had the [45-90mm
(T2.8) and 80-180mm (T2.8) V-Plus
Front Anamorphic] Zooms for our B
camera and cranes. During our tests, we
learned how we could minimize the
difference between the sets by using the
Tiffen Glimmerglass 2 filter."
Huertas adds that the filmmakers
mainly used Vintage '74 lenses for
daylight scenes, "except when we went
wider than a 45mm, and when we were
facing directly toward a character with a
very bright background, like the sky.
Then we felt we got too much flare in
faces. For night scenes, we used the
regular V-Lite set [comprising 28mm140mm focal lengths] to prioritize the
definition [while] shooting at wider Tstops. At night, we also used the
Glimmerglass filter less, and depending
on particular conditions, we used
[higher or lower strengths of the diffusion filter].
"We also combined the Vintage
'74 with the V-Plus Zooms while
66

November 2016

Shooting for Realism

*|*

shooting with two cameras at the same
time when we needed to go tighter than
110mm," he continues. "The V-Plus
Zooms [are] similar to the V-Lites, but
due to their minimum T-stop, we used
them mostly in daylight conditions. We
also had a reduced set of spherical lenses
- [16mm-25mm] Arri/Zeiss Master
Primes - which were used mainly for
complex visual-effects shots, and sometimes to guarantee the definition of the
widest night shots if we needed to go
wider than T2.8."
The camera assistant adds, "We
used Vantage Slide Diopters in many
scenes for inserts, but also for handheld
shots following the boy. We even used
them in a Steadicam shot. The restricted
focus depth that the diopters provided
made some shots extremely difficult for
me. I had to learn how to follow focus by
using a monitor without any mark,
moving the knob by feeling. But we
didn't use the diopters just to get a closer
minimum focus - it was a matter of the
camera style that [Bayona] loved for the
boy."
Meanwhile, Rodriguez reports
that one of his primary missions was to
achieve "a British atmosphere, an
absence of direct sunlight, and to have
very soft light." For interiors, to achieve
lighting streaming in through windows,
the gaffer notes that his team used various Maxi-Brute fixtures - filtered with
Full Grid Cloth and 1⁄2 CTB - which
were running on batteries, and were
configured in a line on motorized trusses
in order to vary height and offer control
of individual lamps. "This allowed us to
manipulate light intensity without
affecting color temperature," he says,
"because we were able to individually
turn on and off [individual bulbs] without having to go down in intensity for all
of them together."
He adds that, thanks to the
movable walls and folding roofs built
into the sets, "We could [often] project
fill light from the same direction and
almost the same angle as the main light,
creating a more realistic sensation without disturbing the set in which the
action was taking place."

Rodriguez further offers that the
four separate stages at Parc Audiovisual
de Catalunya - in Terrassa, Barcelona
- where the production built exterior
sets, were each ruled by a networked
lighting system designed by board technician Raúl Peña. "Raúl created a wireless network in each studio,
programmed [to be controlled by an
iPad], so I could manipulate all sets," the
gaffer explains. "I could be in the video
village with Óscar and manipulate the
lights instantly per his requests, adjusting the light effects more precisely."
A significant challenge involved
determining ways to match lighting
from the Manchester locations in the
U.K. to the stages in Spain. Rodriguez
explains, "The weather we had in
Manchester was extremely volatile -
rain, wind, sun when it was not desired.
We had to use large diffusers to [soften]
the sun on many occasions - and on
others we had to use several Arrimax
18K units to [simulate] sun in order to
keep continuity. But once we got to the
studios [in Spain], Óscar chose the
orientation of the outdoor sets very well,
and then we could re-create the light of
Manchester without much difficulty."
Rodriguez adds that LED lights
were important tools on the show. His
team frequently relied on DMXcontrolled Kino Flo Celeb panels, and
for close-ups and in small sets, they
utilized thin, custom-built 4'x4' screens
with 300-watt LED hybrids, also DMX
controlled.
He suggests that "perhaps the
most complicated setup" on the movie
was a scene near the end, in which
Conor and his grandmother (Sigourney
Weaver) sit in the latter's idle car.
"There," he explains, "we had to place a
45-meter crane, out of frame, [to lift] a
soft box with four 12-light Maxi-Brutes
bounced
back
from
white
[Ultrabounce] and exiting through Full
Grid Cloth to create overhead light
directly on the car."
-Michael Goldman

American Cinematographer



American Cinematographer - November 2016

Table of Contents for the Digital Edition of American Cinematographer - November 2016

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com