American Cinematographer - December 2011 - 34

Smiley takes a call. “He is someone you would immediately forget if you saw him on the street,” notes Alfredson.

Several daytime office interiors take place in relative darkness. The chief of MI6, Control (John Hurt), is a volatile, paranoid man whose dark, messy office (a practical location) appears to reek of cigarette smoke and musty furniture. Almost all daylight is shut out by the heavy drapes on his windows. “I faked it a bit,” says Hoytema. “A closed curtain gives a little light, but not enough for exposure, so I enhanced it a bit with small Kino Flos on top of some cupboards. The smoke in the room made it obvious where the light sources were, so we darkened that scene a bit in the DI.” At one point, Peter throws open the curtains and sunlight streams into the room. For this Hoytema employed one of his favorite lighting techniques: “eyebrows,” wide frames of Ultrabounce placed above the windows outside with 12Ks bouncing into them from the ground. He added some direct light, filtered 12K ArriMaxes on cherry pickers, and made sure there was a lot of smoke in the room. Hoytema has used his “eyebrows” on several recent films, including The Fighter (AC Jan. ’11), and notes that he typically has all of the sources on the ground. This was the case for a scene in Tinker set in the office of diplomat Oliver Lacon (Simon McBurney), a space with large windows
34 December 2011

along one wall. Hoytema’s crew set up the eyebrows outside the windows, this time placing 12K and 18K lamps on the ground to bounce into them. Hoytema often used ordinary tube lights and was meticulous about finding the right models. “Tube lights were very thick in the 1970s, but those no longer exist, so the art department built some out of frosted Plexiglas pipes with smaller tube lights inside. They had the proper appearance.” Renting lights in London proved quite a challenge: War Horse, Hugo and the latest Pirates of the Caribbean feature were all in production there at the same time. “Here we were, this small production!” laughs Hoytema. “We were happy to get any kind of lamp! We had Fresnels next to old 12Ks, and we got all the scruffiest 18Ks. In terms of the look, though, it didn’t matter, because we were bouncing the light.” For one scene in Smiley’s house, Hoytema switched to balloon lights imported from Germany. “We had two 6meter sausage-shaped helium balloonstied between the house and the backdrop, and that beautifully simulated an overcast sky,” he says. (These balloons and a 4-meter one were also used in Budapest for a scene at an outdoor café, where one of Smiley’s colleagues is working undercover.)
American Cinematographer

The interior of Smiley’s house was a set built in a gym at the Inglis Barracks, a former military base in north England that served as the production’s primary location. “It became our own backlot,” says Hoytema. “It was wonderful, because the buildings kind of breathed that period of history. The patina on the buildings was wonderful and very filmic.” Hoytema gives high marks to his entire crew, singling out focus puller Simon Hume (“a safe haven on a difficult shoot”), gaffer Al Martin (“a big help on my first job in England”), key grip Colin Stratten (“incredibly sensitive to the rhythm and tone of the scenes”), and B-camera operator Peter Taylor, who handled a second camera on the conference-room scenes. “Our second-unit team, led by [director] Mikael Marcimain and [cinematographer] Jallo Faber, was also fantastic,” he adds. The production’s processing and dailies were handled by iLab London, and Hoytema carried out the DI at The Chimney Pot in Stockholm. “The Chimney Pot is one of my favorite post companies,” he says, “not least because of [colorist] Mats Holmgren, who has a good eye for detail and good taste and is fully engaged in the psychological curve of the film.” He notes that he is also grateful to Henric Larsson, president of The Chimney Pot, for facilitating a 4K scan of the negative. “I wanted as little resolution conflict as possible between the bigger analog grain size and the digital pixel size, but the other post houses we talked to said a 4K scan was either impossible or prohibitively expensive,” says Hoytema. “Henric found a way.”

TECHNICAL SPECS
2.40:1 3-perf Super 35mm Panaflex Millennium Panavision Primo Fujifilm Reala 500D 8592, Eterna 500T 8573 Digital Intermediate ●



American Cinematographer - December 2011

Table of Contents for the Digital Edition of American Cinematographer - December 2011

American Cinematographer - December 2011
Contents
Editor’s Note
President's Desk
Short Takes: OK Go’s “Muppet Show Theme Song”
Production Slate: Melancholia • Tinker Tailor Soldier Spy
Stepping into the Shadows
Through a Child’s Eyes
Silent Splendor
It’s Time to Raise the Curtain
Filmmakers’ Forum: David Stump, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
2011 AC Index
In Memoriam: Andrew Laszlo, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - American Cinematographer - December 2011
American Cinematographer - December 2011 - Cover2
American Cinematographer - December 2011 - 1
American Cinematographer - December 2011 - 2
American Cinematographer - December 2011 - Contents
American Cinematographer - December 2011 - 4
American Cinematographer - December 2011 - 5
American Cinematographer - December 2011 - 6
American Cinematographer - December 2011 - 7
American Cinematographer - December 2011 - Editor’s Note
American Cinematographer - December 2011 - 9
American Cinematographer - December 2011 - President's Desk
American Cinematographer - December 2011 - 11
American Cinematographer - December 2011 - Short Takes: OK Go’s “Muppet Show Theme Song”
American Cinematographer - December 2011 - 13
American Cinematographer - December 2011 - 14
American Cinematographer - December 2011 - 15
American Cinematographer - December 2011 - 16
American Cinematographer - December 2011 - 17
American Cinematographer - December 2011 - Production Slate: Melancholia • Tinker Tailor Soldier Spy
American Cinematographer - December 2011 - 19
American Cinematographer - December 2011 - 20
American Cinematographer - December 2011 - 21
American Cinematographer - December 2011 - 22
American Cinematographer - December 2011 - 23
American Cinematographer - December 2011 - 24
American Cinematographer - December 2011 - 25
American Cinematographer - December 2011 - 26
American Cinematographer - December 2011 - 27
American Cinematographer - December 2011 - 28
American Cinematographer - December 2011 - 29
American Cinematographer - December 2011 - 30
American Cinematographer - December 2011 - 31
American Cinematographer - December 2011 - 32
American Cinematographer - December 2011 - 33
American Cinematographer - December 2011 - 34
American Cinematographer - December 2011 - 35
American Cinematographer - December 2011 - Stepping into the Shadows
American Cinematographer - December 2011 - 37
American Cinematographer - December 2011 - 38
American Cinematographer - December 2011 - 39
American Cinematographer - December 2011 - 40
American Cinematographer - December 2011 - 41
American Cinematographer - December 2011 - 42
American Cinematographer - December 2011 - 43
American Cinematographer - December 2011 - 44
American Cinematographer - December 2011 - 45
American Cinematographer - December 2011 - 46
American Cinematographer - December 2011 - 47
American Cinematographer - December 2011 - 48
American Cinematographer - December 2011 - 49
American Cinematographer - December 2011 - 50
American Cinematographer - December 2011 - 51
American Cinematographer - December 2011 - 52
American Cinematographer - December 2011 - 53
American Cinematographer - December 2011 - Through a Child’s Eyes
American Cinematographer - December 2011 - 55
American Cinematographer - December 2011 - 56
American Cinematographer - December 2011 - 57
American Cinematographer - December 2011 - 58
American Cinematographer - December 2011 - 59
American Cinematographer - December 2011 - 60
American Cinematographer - December 2011 - 61
American Cinematographer - December 2011 - 62
American Cinematographer - December 2011 - 63
American Cinematographer - December 2011 - 64
American Cinematographer - December 2011 - 65
American Cinematographer - December 2011 - 66
American Cinematographer - December 2011 - 67
American Cinematographer - December 2011 - Silent Splendor
American Cinematographer - December 2011 - 69
American Cinematographer - December 2011 - 70
American Cinematographer - December 2011 - 71
American Cinematographer - December 2011 - 72
American Cinematographer - December 2011 - 73
American Cinematographer - December 2011 - 74
American Cinematographer - December 2011 - 75
American Cinematographer - December 2011 - 76
American Cinematographer - December 2011 - 77
American Cinematographer - December 2011 - It’s Time to Raise the Curtain
American Cinematographer - December 2011 - 79
American Cinematographer - December 2011 - 80
American Cinematographer - December 2011 - 81
American Cinematographer - December 2011 - 82
American Cinematographer - December 2011 - 83
American Cinematographer - December 2011 - 84
American Cinematographer - December 2011 - 85
American Cinematographer - December 2011 - 86
American Cinematographer - December 2011 - 87
American Cinematographer - December 2011 - 88
American Cinematographer - December 2011 - 89
American Cinematographer - December 2011 - 90
American Cinematographer - December 2011 - 91
American Cinematographer - December 2011 - 92
American Cinematographer - December 2011 - 93
American Cinematographer - December 2011 - Filmmakers’ Forum: David Stump, ASC
American Cinematographer - December 2011 - 95
American Cinematographer - December 2011 - 96
American Cinematographer - December 2011 - 97
American Cinematographer - December 2011 - 98
American Cinematographer - December 2011 - 99
American Cinematographer - December 2011 - New Products & Services
American Cinematographer - December 2011 - 101
American Cinematographer - December 2011 - 102
American Cinematographer - December 2011 - 103
American Cinematographer - December 2011 - International Marketplace
American Cinematographer - December 2011 - Classified Ads
American Cinematographer - December 2011 - Ad Index
American Cinematographer - December 2011 - 2011 AC Index
American Cinematographer - December 2011 - 108
American Cinematographer - December 2011 - 109
American Cinematographer - December 2011 - 110
American Cinematographer - December 2011 - 111
American Cinematographer - December 2011 - 112
American Cinematographer - December 2011 - 113
American Cinematographer - December 2011 - In Memoriam: Andrew Laszlo, ASC
American Cinematographer - December 2011 - 115
American Cinematographer - December 2011 - ASC Membership Roster
American Cinematographer - December 2011 - 117
American Cinematographer - December 2011 - Clubhouse News
American Cinematographer - December 2011 - 119
American Cinematographer - December 2011 - ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - Cover3
American Cinematographer - December 2011 - Cover4
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