American Cinematographer - June 2024 - 52

After stepping off the stage,
Winehouse performs amid
her fans' adulation.
most important collaborators on the production. The pair had previously
worked together on Crawdads and Lucy in the Sky (AC Nov. '19). " Natasha
was vital to this film's outcome from prep all the way through [color
process], " says the cinematographer.
Morgan had just five weeks of prep, and when she saw the bold colors
Greenwood and Williams were employing in their creations - which
Spotlight on Optics | " Amy Vision "
Morgan used a variety of techniques and glass to render the intensity
of dramatic events Winehouse experienced while drunk or high - moments
the filmmakers dubbed " Amy Vision. "
Sometimes Morgan would shoot at 6 fps for motion blur or with a
90-degree shutter. Or, for a scene in which Winehouse awakens after
a drunken fight with Blake, the cinematographer deployed Century
Swing & Shift lenses. The sequence where Winehouse loses her composure
during a performance at Glastonbury called for intense flaring,
which prompted Morgan to use uncoated Arriflex/Zeiss Super Speeds.
For the moment when Winehouse smokes heroin for the first time, and
also when she learns her grandmother has cancer, a 50mm Arri Heroes
T.One was pressed into service, in particular for its very shallow
depth of field. Morgan used a " crystal wand " - i.e., a multifaceted
glass prism affixed to a stick - for the singer-songwriter's nightmare
of Blake and his ex having sex on her bed. The tool was employed in
combination with the 35mm K-35, and " created distortion in certain
areas of the frame, drawing the eye to the sharp areas and creating
a heightened image, " the cinematographer says. An optical flat
with glycerin in front of the lens was used for Winehouse's walks
in Camden in the rain, and a Revar Cine Compression Diopter
and Lensbaby 3G were pressed into service for numerous hazy
moments.
Morgan describes another example: " When Amy and Blake get
into a fight at the Sanderson Hotel, we start with a descender rig
as she's running down the stairs away from him, and then cut to a
Snorricam shot with Abela wearing a [Dark Chamber Media] Z Cam
with the 35mm K-35. It gives the sense that you are really with her
in all her messiness. When the paparazzi are chasing her, those
flashing lights become overwhelming. It's an invasion of personal
space. We want the viewer to feel that. "
- Valentina Valentini
were true to Winehouse's style - she began exploring how to make
them fit within the gritty tone she had in mind.
" Natasha and I talked about bleach-bypass early on as a way to desaturate
the designers' palettes, " she says. " The Picture Shop color-science
team, [comprising ASC associate] Joshua Pines and Chris Kutcka, crafted
the LUT, which was a real characterization of actual ENR processing. "
52 / JUNE 2024
PHOTO BY DEAN ROGERS.

American Cinematographer - June 2024

Table of Contents for the Digital Edition of American Cinematographer - June 2024

Contents
American Cinematographer - June 2024 - Intro
American Cinematographer - June 2024 - Cover1
American Cinematographer - June 2024 - Cover2
American Cinematographer - June 2024 - 1
American Cinematographer - June 2024 - Contents
American Cinematographer - June 2024 - 3
American Cinematographer - June 2024 - 4
American Cinematographer - June 2024 - 5
American Cinematographer - June 2024 - 6
American Cinematographer - June 2024 - 7
American Cinematographer - June 2024 - 8
American Cinematographer - June 2024 - 9
American Cinematographer - June 2024 - 10
American Cinematographer - June 2024 - 11
American Cinematographer - June 2024 - 12
American Cinematographer - June 2024 - 13
American Cinematographer - June 2024 - 14
American Cinematographer - June 2024 - 15
American Cinematographer - June 2024 - 16
American Cinematographer - June 2024 - 17
American Cinematographer - June 2024 - 18
American Cinematographer - June 2024 - 19
American Cinematographer - June 2024 - 20
American Cinematographer - June 2024 - 21
American Cinematographer - June 2024 - 22
American Cinematographer - June 2024 - 23
American Cinematographer - June 2024 - 24
American Cinematographer - June 2024 - 25
American Cinematographer - June 2024 - 26
American Cinematographer - June 2024 - 27
American Cinematographer - June 2024 - 28
American Cinematographer - June 2024 - 29
American Cinematographer - June 2024 - 30
American Cinematographer - June 2024 - 31
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American Cinematographer - June 2024 - 33
American Cinematographer - June 2024 - 34
American Cinematographer - June 2024 - 35
American Cinematographer - June 2024 - 36
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American Cinematographer - June 2024 - 40
American Cinematographer - June 2024 - 41
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American Cinematographer - June 2024 - 43
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American Cinematographer - June 2024 - 45
American Cinematographer - June 2024 - 46
American Cinematographer - June 2024 - 47
American Cinematographer - June 2024 - 48
American Cinematographer - June 2024 - 49
American Cinematographer - June 2024 - 50
American Cinematographer - June 2024 - 51
American Cinematographer - June 2024 - 52
American Cinematographer - June 2024 - 53
American Cinematographer - June 2024 - 54
American Cinematographer - June 2024 - 55
American Cinematographer - June 2024 - 56
American Cinematographer - June 2024 - 57
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American Cinematographer - June 2024 - 80
American Cinematographer - June 2024 - Cover3
American Cinematographer - June 2024 - Cover4
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