lated the water movement with fans. In the climactic dance routine with the black swan, we had a big sun piece as our backdrop, and we used 2K nook lights in the footlights on the stage. Those came in handy for an earlier scene that shows the dancers rehearsing the number; we didn’t have the set completely built at that point, so I used the nook lights to create nice, hard shadows of the dancers on the back wall. I knew we’d lose those shadows in the full-costume performance of that routine, so I decided to back- “It was important to Darren to capture Nina’s internal struggle, and Natalie definitely nails those emotions.” light Natalie to make her a silhouette in the middle of the sun, and let all the other dancers have the frontlight. I kept her in the shadow of two light sources to create that symbolic element of light and darkness. The work of the artist Olafur Eliasson also influenced the look of our ballet scenes. He did an installation at the Tate Modern in London calledThe Weather Project that was a great inspiration in terms of our stage design; we were impressed by his use of reflection and scale. The handheld camerawork really takes the viewer inside the dancing onstage. Libatique: Every performance was covered in long master shots, which we just augmented with other MARK II Available with For all 35 mm lenses incl. PL54-mount Optimo Rouge DP PANA-mount BNCR-mount Representative in U.S.: camadeus Film Technologies Nor th Hollywood, CA 91605 Tel. +1-818-764-1234 We accept www.denz-deniz.comhttp://www.filmgear.net http://www.denz-deniz.com http://www.denz-deniz.com