American Cinematographer - December 2014 - 44

◗

Cosmic Odyssey

Nolan, van
Hoytema and
crew shoot a
scene in
which the
Endurance's
lander sets
down in
the water.

Hoytema opted to light primarily from
the windows. "Outside of [the daughter's] room we had one of our six 18K
HMIs on a Condor pushing through
the window behind a 6-by-6 or 12-by12 Light Grid frame," says Skinner.
Overcast skies were augmented by
bouncing into a Light Grid or Full Grid
eyebrow over the window exterior. The
gaffer adds, "Inside we'd use one of my
custom 4-foot 2K soft lights [with four
500-watt ECT globes and Half CTB]
or a BBS Lighting Area 48 [LED] to
wrap the light around in wider shots."
Natural daylight was accentuated
with 1⁄2 or 1⁄8 CTO on 4'x4' frames in
front of lights, and HMIs with 1⁄4 Plus
Green "to emulate the bounce that
natural light gets from all the plants or
trees," says van Hoytema. Adding that
he eschewed precise contrast ratios, he
explains, "I would rather get something
that's less perfect but more real. Inside
the kitchen, the big windows burn out
and the soft light sort of streams into
the room but doesn't reach very far."
Inconsistency is a defining trait of
Alberta weather. "From one moment to
the next, the sky would storm with
black clouds or give you a beautiful, low
sun," van Hoytema recalls. "The rule of
44

December 2014

American Cinematographer



American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
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