American Cinematographer - December 2014 - 45

thumb was to accept the beautiful and
the extreme. It was not always dramatic.
It could be very gray and dull, and we
wanted to capture those moments, too."
NDs and polarizers helped maintain a
shallow T2.8/T4 at ISO 50, though
some action scenes pushed the stop as
high as T5.6.
"Normally we used a 12-by-12
Ultrabounce, and sometimes a little
overhead action," says Skinner. "The
wind really kicks up in Calgary, so our
key grip, Herb Ault, also used perforated bounces. When we did light, it
was the standard two 18Ks through a
12-by-12 frame of Full Grid. Most of
the time we would just wait for the sun
to come back."

"It's beautiful how the
Imax lenses rendered
faces. They're like
big-format still
portraits."

For a sequence that takes place in
an underground facility, the filmmakers
combined exterior locations in
Canmore, Alberta, with a number of
interiors, including a parking garage in
Torrance, Calif.; the Bonaventure Hotel
in Los Angeles; and sets built on Stage
26 at the Sony lot in Culver City, Calif.
The filmmakers adopted a utilitarian
approach to combine these disparate
locations into a single environment.
"Everything from the light sources to
the furniture to the technology was
meant to seem familiar and was
constructed according to its function,"
van Hoytema remarks.
On stage at Sony, the facility's
large boardroom was connected to the
roomy office where Professor Brand
(Michael Caine) and Murph ( Jessica

Chastain) work out some of the film's
deep science. Practical T8 fluorescent
tubes in the ceiling were warmed with
1⁄8 CTO to create an ambient light
level. The actors were augmented with a
2x2 Kino Flo and wrapped with a handheld panel of VHO 120 LiteRibbon
strips diffused with Lee 129 Heavy
Frost. "The LED housings were
designed for practical use on the spaceship sets, but we ended up using them

on every set because they were batterypowered and I could run around with
Hoyte and hold one next to the camera
as an eyelight," says Skinner.
Cooper's experience as a test pilot
lands him a potentially one-way ticket
on the expedition spacecraft Endurance,
where he joins Brand's daughter (Anne
Hathaway) and scientists Doyle (Wes
Bentley) and Romilly (David Gyasi).
Sony's Stage 30 housed the main


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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
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
American Cinematographer - December 2014 - 32
American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
American Cinematographer - December 2014 - 47
American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
American Cinematographer - December 2014 - 52
American Cinematographer - December 2014 - 53
American Cinematographer - December 2014 - 54
American Cinematographer - December 2014 - 55
American Cinematographer - December 2014 - 56
American Cinematographer - December 2014 - 57
American Cinematographer - December 2014 - 58
American Cinematographer - December 2014 - 59
American Cinematographer - December 2014 - 60
American Cinematographer - December 2014 - 61
American Cinematographer - December 2014 - 62
American Cinematographer - December 2014 - 63
American Cinematographer - December 2014 - 64
American Cinematographer - December 2014 - 65
American Cinematographer - December 2014 - 66
American Cinematographer - December 2014 - 67
American Cinematographer - December 2014 - 68
American Cinematographer - December 2014 - 69
American Cinematographer - December 2014 - 70
American Cinematographer - December 2014 - 71
American Cinematographer - December 2014 - 72
American Cinematographer - December 2014 - 73
American Cinematographer - December 2014 - 74
American Cinematographer - December 2014 - 75
American Cinematographer - December 2014 - 76
American Cinematographer - December 2014 - 77
American Cinematographer - December 2014 - 78
American Cinematographer - December 2014 - 79
American Cinematographer - December 2014 - 80
American Cinematographer - December 2014 - 81
American Cinematographer - December 2014 - 82
American Cinematographer - December 2014 - 83
American Cinematographer - December 2014 - 84
American Cinematographer - December 2014 - 85
American Cinematographer - December 2014 - 86
American Cinematographer - December 2014 - 87
American Cinematographer - December 2014 - 88
American Cinematographer - December 2014 - 89
American Cinematographer - December 2014 - 90
American Cinematographer - December 2014 - 91
American Cinematographer - December 2014 - 92
American Cinematographer - December 2014 - 93
American Cinematographer - December 2014 - 94
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American Cinematographer - December 2014 - 97
American Cinematographer - December 2014 - 98
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American Cinematographer - December 2014 - 101
American Cinematographer - December 2014 - 102
American Cinematographer - December 2014 - 103
American Cinematographer - December 2014 - 104
American Cinematographer - December 2014 - 105
American Cinematographer - December 2014 - 106
American Cinematographer - December 2014 - 107
American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
American Cinematographer - December 2014 - 110
American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
American Cinematographer - December 2014 - Cover3
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