American Cinematographer - January 2016 - 79
with an 8-by-4 poly up against a wall,
and then placed a light on the ground at
a 45-degree angle pointed into the poly.
Then we draped a Grid Cloth from the
top of the poly to the ground, surrounding the light. This creates a compact
source in the shape of a wedge.
What was the fixture inside the
wedge to simulate candlelight?
Arkapaw: We used [Showtec]
Sunstrips. My gaffer, Lee Walters, had
just come off Fury [AC Dec. '14], where
he used them for firelight at night.
They're strips of 10 little tungsten bulbs,
the same that are used as spots in
people's homes. We put together panels
with five Sunstrips, so you've got about
50 of those hard little lights. Someone
has done a very clever job of putting a
DMX chase system into the Sunstrips,
so all the little globes are glowing on
and off. It looks pretty convincing, the
best I've come across. So we used
Sunstrips for all of our firelight and
candle scenes.
How did you balance the
Sunstrip wedge with the real candles
in the church?
Arkapaw: I was using the candles
as fill, so I would just walk around and
light them or blow them out depending
on how much I needed.
I did explore just using candles, as
a lot of classic films have done, but for
me the candlelight is just a little too
orange. Also, candlelight is quite hard,
unless you have dozens of them. So I
prefer to have just one key light and
then let the candles do the rest of the
work.
And that means that the candles
determine your T-stop?
Arkapaw: Yes.
Can you talk about the banquet
where King Macbeth sees Banquo
[Paddy Considine], the ghost of the
man he had murdered?
Arkapaw: That's my favorite
scene. Macbeth is coming apart in such
a public place. I love how Banquo fits
into the scene. Instead of doing something really ghostly, he's still sort of real.
The scene has a faded look to it.
Arkapaw: There's a sepia tone. It
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Table of Contents for the Digital Edition of American Cinematographer - January 2016
Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
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American Cinematographer - January 2016 - 38
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American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
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American Cinematographer - January 2016 - 45
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American Cinematographer - January 2016 - 50
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American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
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American Cinematographer - January 2016 - 58
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American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
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